yearbookjapanЕжегодник ЯпонияYearbook Japan2687-14322687-1440Association of Japanologists and the Institute of Oriental Studies of the Russian Academy of Sciences10.55105/2687-1440-2022-51-286-305yearbookjapan-373Research ArticleКУЛЬТУРАCULTUREВлияние микропрозы Роберта А. Блоха на сверхкороткие сказочные истории и психологический хоррор современных японских писателей: попытка сравнительного анализаThe Influence of Robert A. Bloch’s Micro Fiction on Short-Short Fantasy and Psychological Horror by Contemporary Japanese Writers: An Attempt of Comparative Analysishttps://orcid.org/0000-0002-3734-3109ХронопулоЛ. Ю.KhronopuloL. Yu.

Хронопуло Лиала Юрьевна, доцент кафедры японоведения

199034, г. Санкт-Петербург, Университетская набережная, 7-9

Khronopulo Liala Yu., Associate Professor, Department of Japanese Studies

7-9, Universitetskaya emb., Saint Petersburg, 199034

l.khronopulo@spbu.ruСанкт-Петербургский государственный университетРоссияSaint Petersburg State UniversityRussian Federation202207122022510286305Copyright © Хронопуло Л.Ю., 20222022Хронопуло Л.Ю.Khronopulo L.Y.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://www.yearbookjapan.ru/jour/article/view/373

Среди сверхкоротких рассказов американских авторов, переведённых на японский язык в конце 1950-х – начале 1960-х гг. писателем Цудзуки Митио, впервые была представлена и микропроза Роберта Альберта Блоха (1917–1994): детективы, сказочные истории, психологические ужасы, фэнтези. Японские писатели, известные своими экспериментами в жанре сверхкоротких мистических и детективных историй, а также в жанре психологического хоррора, отмечают влияние Роберта А. Блоха на их творчество: это Атода Такаси (р. 1935), Акагава Дзиро (р. 1948) и Тамару Масатомо (р. 1987). Некоторые аллюзии можно обнаружить и в творчестве менее известных авторов современного сверхкороткого рассказа — например, Аояма Сёдзи (р. 1975). В статье анализируются темы, идеи, приёмы, психологизм японской микропрозы, относящейся к таким жанрам, как сказки и ужасы; рассматривается метафоричность и образность произведений. Предлагается взгляд на сё:то сё:то современных японских писателей, принимая во внимание отсылки в их творчестве к произведениям указываемого ими предшественника — Роберта А. Блоха. Литературные параллели с сюжетами сверхкоротких историй Роберта А. Блоха обнаруживаются в рассказах сборника сё:то сё:то Тамару Масатомо «Тысяча и одна ночь» (Сэнъя ития), опубликованного в 2016 г.; в сборниках микропрозы Акагава Дзиро «Прогулка» (Сампомити, 2002), «Танцующий мужчина» (Одору отоко, 1986) и «Болтливая женщина» (Каттэ-ни сябэру онна, 1986); а также в сборниках микропрозы Атода Такаси «Странный день» (Кимё:на хирусагари, 1996), «Съеденный мужчина» (Табэрарэта отоко, 2008) и «Случай с кошкой» (Нэко-но дзикэн, 2010). В одном из рассказов Аояма Сёдзи из сборника «Площадь сё:то сё:то-1» (Сё:то сё:то-но хироба-1, 2007) также очевидно влияние Роберта А. Блоха. Вслед за американским писателем для японских авторов на первый план выходит иносказательность произведений, символизм, чёрный юмор, обращение к проблемам современного мира и свойствам человеческой натуры. Сравнительный анализ японских сё:то сё:то и сверхкороткой прозы Роберта А. Блоха проводится впервые.

Among the short-short stories by American authors translated by Japanese writer Tsuzuki Michio in the late 1950s — early 1960s, there were also extrashort stories by Robert Albert Bloch (1917–1994): detective stories, fantasy, psychological horror. Japanese writers known by their experiments in the genres of extra-short mystic and detective stories, as well as in the genre of psychological horror, note that their creative activity was partly influenced by Robert A. Bloch: these are Atōda Takashi (b. 1935), Akagawa Jirō (b.1948), and Tamaru Masatomo (b. 1987). Some allusions can also be seen in contemporary short-shorts by less famous Japanese writers, for example, Aoyama Shōji (b. 1975). This paper examines the topics, ideas, artistic devices, and psychologism of the Japanese micro fantasy and horror fiction, as well as its metaphorical meanings and the system of images. Allusions to Robert A. Bloch’s micro fiction in the shōto shōto stories by contemporary Japanese authors are analyzed from a comparative perspective. Literary parallels to Robert A. Bloch’s micro fiction can be found in the Tamaru Masatomo’s collection of short-short stories One Thousand Nights (Sen’ya ichiya) published in 2016; in Akagawa Jirō’s collections of short-short stories The Walk (Sampomichi, 2002), The Dancing Man (Odoru otoko, 1986), and The Talkative Woman (Katte-ni shaberu onna, 1986); in Atōda Takashi’s collections of short-short stories The Strange Day (Kimyōna hirusagari, 1996), The Eaten Man (Taberareta otoko, 2008) and The Cat Case (Neko-no jiken, 2010). The influence of Robert A. Bloch’s micro fiction can also be traced in one of Aoyama Shōji’s short-shorts from the collection of stories The Square of Shōto Shōto-1 (Shōto shōto-no hiroba-1, 2007). Following Robert A. Bloch’s methods and techniques, the Japanese writers in their short-short stories demonstrate symbolism, allegory, and black humor, as well as probing into certain social problems and human nature. For the first time, Japanese shōto shōto stories and Robert A. Bloch’s micro fiction are investigated from a comparative perspective.

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The authors declare that there are no conflicts of interest present.