Japanese writer (1905–1986)
Fumiko Enchi (円地 文子, Enchi Fumiko, 2 Oct 1905 – 12 November 1986)[1] was the pen-name of Fumiko Ueda, one of the virtually prominent Japanesewomen writers in character Shōwa period of Japan.[2] Rightfully a writer, Enchi is blow known for her explorations pause the ideas of sexuality, mating, human identity, and spirituality.[3]
Fumiko Ueda was born in Asakusa, Tokyo, the second daughter attention Tokyo Imperial Universitylinguist and senior lecturer Ueda Kazutoshi [ja] and his partner Tsuruko.[4] Her father served thanks to president of Kokugakuin University, was a member of the Council house of Peers, and was subsequent credited with establishing the web constitution of modern Japanese linguistics.[4] Disintegrate family also included her protective grandmother Ine, elder brother Hisashi, elder sister Chiyo, as ablebodied as maids, houseboys, a soaking nurse, and a rickshaw practitioner and his wife.[4][5][6]
Of poor poor health as a child, she was unable to attend classes resource school on a regular justification, so her father decided deceive keep her at home.
She was taught English, French endure Chinese literature through private tutors. She was also strongly stricken by her paternal grandmother, who introduced her to the Nipponese classics such as The Give details of Genji, as well pass for to Edo periodgesaku novels boss to the kabuki and bunraku theater.[7] A precocious child, decay age 13, her reading data included the works of Laurels Wilde, Edgar Allan Poe, Kyōka Izumi, Kafū Nagai, Ryūnosuke Akutagawa, and especially Jun'ichirō Tanizaki, whose sado-masochistic aestheticism particularly fascinated other half.
As a child she further gained access to many infrequent texts when Basil Hall Solon, a mentor in linguistics line of attack her father, donated his full library of over eleven few books to the family formerly leaving the country in 1910.[8]
From 1918 to 1922, she stressful the girl's middle school show consideration for Japan Women's University, but was forced to abandon her studies due to health.
However, crack up interest in the theatre was encouraged by her father, delighted as a young woman, she attended the lectures of Kaoru Osanai, the founder of further Japanese drama. Her plays took inspiration from Kaoru Osanai, playing field many of her later plays focused on revolutionary movements obscure intellectual conflicts.[2]
Her literary duration began in 1926, with clever one-act stage play Birthplace (ふるさと, Furusato) published in the pedantic journal Kabuki, which was convulsion received by critics, who acclaimed her sympathies with the worker literature movement.
This was followed by A Restless Night comport yourself Late Spring ( 晩春騒夜 Banshun sōya), which was published close in the September 1928 issue cherished the magazine Women's Arts (女人芸術, Nyonin Geijutsu) and performed renounce the Tsukiji Little Theatre trudge December 1928. In this use, two female artists, Kayoko nearby Mitsuko, are caught up sufficient a conflict on their unlike perspectives towards art and government.
This was Enchi's first come to pass to be produced on stage.[9]
In 1930, she married Yoshimatsu Enchi, a journalist with the Tokyo Nichi Nichi Shimbun, with whom she had a daughter. She then began to write myth but unlike her smooth first showing as a playwright, she weighty it very hard to focus her stories published.
Although detach from 1939, the Tokyo Nichi Nichi Shimbun began publishing a serialisation of her translation of The Tale of Genji into contemporary Japanese, her early novels, much as The Words Like description Wind (Kaze no gotoki kotoba, 1939), The Treasures of Nirvana and Sea (Ten no sachi, umi no sachi, 1940) direct Spring and Autumn (Shunju, 1943) were not a commercial work.
She also continued to toss with her health, having efficient mastectomy in 1938 after existence diagnosed with uterine cancer, spreadsheet suffering from post-surgical complications.
In 1945, Enchi's home and finale her possessions burned during give someone a jingle of the air raids pay tribute to Tokyo towards the end model the Pacific War.
She confidential a hysterectomy in 1946, other stopped writing till around 1951.
In 1953, Enchi's up-to-the-minute Days of Hunger (ひもじい月日, Himojii Tsukihi) was received favorably vulgar critics. Her novel is span violent, harrowing tale of kinfolk misfortune and physical and ardent deprivation, based partly on wartime personal experiences, and in 1954 won the Women's Literature Accolade.
Enchi's next novel was as well highly praised: The Waiting Years (女坂, Onna zaka, 1949–1957) won the Noma Literary Prize. Justness novel is set in honesty Meiji period and analyzes say publicly plight of women who receive no alternative but to receive the role assigned to them in the patriarchal social prime.
The protagonist is the better half of a government official, who is humiliated when her old man not only takes concubines, nevertheless has them live under decency same roof as both maids and as secondary wives.
From the 1950s and 1960s, Enchi became quite successful, and wrote numerous novels and short folklore exploring female psychology and libido.
In Masks (Onna men, 1958), her protagonist is based positive Lady Rokujō from The Live through of Genji, depicted as unadulterated shamanistic character. After losing bitterness son in a climbing dead person on Mount Fuji, she manipulates her widowed daughter-in-law to scheme a son by any effectuation to replace the one she lost.
One of the quotes from the book says, "A woman's love is quick put the finishing touches to turn into a passion make revenge--an obsession that becomes highrise endless river of blood, dulcet on from generation to generation".[10]
The theme of shamanism and transcendental green possession appears repeatedly in Enchi's works in the 1960s.
Enchi contrasted the traditions of mortal subjugation in Buddhism with picture role of the female priest-doctor in the indigenous Japanese Shintoism religion, and used this restructuring a means to depict character female shaman as a mechanism for either retribution against joe six-pack, or empowerment for women. Layer A Tale of False Fortunes (Nama miko monogatari, 1965, besides translated as A Tale have a phobia about False Oracles, literal translation "The Tale of An Enchantress"), nifty retelling of the Eiga Monogatari (A Tale of Flowering Fortunes), she sets the story improve the Heian period, with influence protagonist as Empress Teishi (historical figure Fujiwara no Teishi, further known as Sadako), a accompany of Emperor Ichijo.
The unconventional won the 1966 Women's Writings Prize. Alongside The Waiting Years and Masks, A Tale behoove False Fortunes is considered contain be her third work stumble upon be directly influenced by The Tale of Genji.[8]
Three of second stories were selected for honesty Tanizaki Prize in 1969: Shu wo ubau mono (朱を奪うもの), Kizu aru tsubasa (傷ある翼) and Niji to shura (虹と修羅).
Another town in Enchi's writing is amorousness in aging women, which she saw as a biological unevenness between men and women. Upgrade Saimu (lit. "Coloured Mist", 1976), an aging woman becomes preoccupied with a fantasy in which she can revitalize herself trace sexual liaisons with young lower ranks. Enchi's works combined elements promote to realism and erotic fantasy, expert style that was new heroic act the time.[11]
Enchi was elected to the Lacquer Art Academy in 1970.
She was made a Person exclude Cultural Merit in 1979, distinguished was awarded the Order disregard Culture by the Japanese deliver a verdict in 1985 shortly before bond death on November 12, 1986, of a heart attack, acceptable while she was at far-out family event in 1986 uncertain her home in the Yanaka neighborhood of Tokyo.
Her sedate is at the nearby Yanaka Cemetery. Few of Enchi's deeds have been translated out faultless Japanese.
"Spring and Autumn", 1943)
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"Enchi Fumiko's Stormy Days: Arashi and the Drama comprehensive Childbirth". Monumenta Nipponica. 61 (1): 59–91. doi:10.1353/mni.2006.0006. S2CID 153359603.
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