Excerpts from Records of What Was Heard
Tags
Summary
Editor's review
Who it's for
A good fit for
- Readers with a strong interest in Japanese classical literature and aesthetics (such as mono no aware and yūgen)
- Enthusiasts who wish to understand the literary world of Jun'ichirō Tanizaki from its creative source
- Readers who enjoy "slow reading" genres such as essays, book talk, and literary criticism
- Intellectuals who reflect on comparative and dialogic issues between Eastern and Western cultures
Not a good fit for
- Readers expecting Tanizaki's typical fictional style (intense, sensual, dramatic)
- Casual readers seeking light entertainment or quick information
Reading tips
- It is advisable to first acquire a basic understanding of several of Tanizaki's representative works (such as A Portrait of Shunkin and In Praise of Shadows) before reading this book, to better appreciate the threads of thought in his essays.
- The chapters are independent and well suited to quiet reading in fragmented time; readers may jump around according to interest without adhering to order.
- Keep pen and paper at hand while reading to note Tanizaki's exquisite comments on particular writers or works; these are themselves excellent models of literary appreciation.
About the publisher
Shanghai Translation Publishing House is a Chinese publisher oriented mainly toward translation and publishing. Its publications cover foreign literature, world classics and classic works, as well as social culture, folk literature and classical poetry. The database contains 2,618 titles, including Never Let Me Go, Les Misérables (2 volumes), Don Quixote (illustrated collector's edition), The Complete Comedies of Molière (4 volumes), The Complete Novels of Kafka (3 volumes), The Collected Works of Dostoevsky (9-volume set), Reason and Persons, and Oedipus Rex (Translation Classics). Its author resources include foreign writers such as Kazuo Ishiguro, Victor Hugo, Cervantes and Molière, as well as translators such as Zheng Kelu, Sun Jiameng, Li Jianwu and Zhang Kun. The publisher has brands such as "Translation Classics Selections" and "Translation Documentary," and emphasizes translated works in foreign literature and the humanities and social sciences, while also publishing bilingual dictionaries and foreign-language educational books. Public information is limited; the above is based on the book information in the database.
Contents
- 版权信息
- 闻书抄
- 其一
- 其二
- 其三
- 其四
- 其五
- 其六
- 其七
- 其八
- 三个法师
- 上
- 中
- 下
- 纪伊国采漆工狐狸附体之事
- 觉海上人成天狗之事
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About the author
Jun'ichirō Tanizaki was a modern Japanese novelist and a leading representative of aestheticist literature. Born in 1886 into a rice-merchant family in Tokyo, he studied in the Japanese literature department of Tokyo Imperial University before dropping out. In 1910 he made his name with the story "The Tattooer," which brought him attention in literary circles. After the Great Kanto Earthquake, he moved to the Kansai region, and his focus gradually shifted toward classical aesthetics. He left important works in both fiction and prose, including "The Makioka Sisters," "Naomi," "In Praise of Shadows," and "A Portrait of Shunkin." He also translated "The Tale of Genji" into modern Japanese, helping to spread the classical work. He died of kidney disease in 1965. His writing is delicate and refined, and he had a profound influence on modern Japanese aestheticist literature.
Tan Qian is an author about whom very little public information is available. Three works are known under this name: Roaming China, Notes on Books Heard, and Floating Boat. These titles are often classified as foreign literature, which suggests that Tan Qian's writing is closely connected with that field, or that the subjects and style carry a noticeable cross-cultural quality. The title Roaming China implies travel writing or cultural essays centered on journeys and observations across the country, while Notes on Books Heard and Floating Boat have a more elegant and understated ring, resembling essays or reading notes that may dwell on books, experiences, and personal reflection. Because the author's dates, nationality, and life history remain unknown, a full picture of the works and their development is difficult to trace; readers wishing to understand Tan Qian should begin with the existing texts themselves and discern their themes and prose style there.