AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Authors: RODICA FRENŢIU.
DOI: 10.24193/subbphilo.2020.1.01
Published Online: 2020-03-20
Published Print: 2020-03-20
pp. 9-26
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Reverie and Water Psychism in Yasunari Kawabata’s La Danseuse d’Izu (Izu no odoriko, 1926). The present study approaches Yasunari Kawabata’s novel La Danseuse d’Izu (Izu no odoriko, 1926) from a new perspective, in terms of an open experience. The writer’s particular textual poetics deploys a lyrical neo-sensualism which provides a unique combination of linguistic simplicity and literary ambiguity. Among the many shapes taken by the poetic imagination, the imagination of the matter relies on active substances which the “unconscious of form” can call for in order to provide the unity and the internal hierarchy of the artistic expression. My analysis explores the range of poetic images employed by the Japanese novel, focusing on the iterations of a fundamental matter, the water. Despite its oneiric potential, the theme has a poetic stability able to ground the narrative. Kawabata’s writing is prone to spiritual focusing, spontaneity, and reverie, but builds upon a certain type of syntax, which places the images in continuous connection, but also seems to “unbind” the object-related reverie. Water psychism reigns over the language of the narrative analyzed in this paper, with the effect of making the text continuously “fluid”, and the phrasing rhythms nuanced enough to convey the mysteries hidden within the words. Keywords: poetic language, water psychism, fluidity, reverie, aesthetic beauty
