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Menneen maailman maalari (1986)

– tekijä: Kazuo Ishiguro

Muut tekijät: Katso muut tekijät -osio.

JäseniäKirja-arvostelujaSuosituimmuussijaKeskimääräinen arvioMaininnat
3,243842,983 (3.83)351
It is 1948. Japan is rebuilding her cities after the calamity of World War II, her people putting defeat behind them and looking to the future. The celebrated painter Masuji Ono fills his days attending to his garden, his house repairs, his two grown daughters and his grandson, and his evenings drinking with old associates in quiet Iantern-lit bars. His should be a tranquil retirement. But as his memories continually return to the past - to a life and a career deeply touched by the rise of Japanese militarism - a dark shadow begins to grow over his serenity.… (lisätietoja)
Viimeisimmät tallentajatDarrylH, constanspelt, WXC89, MAR67, WXC789, wxc777
PerintökirjastotGillian Rose
  1. 50
    Pitkän päivän ilta (tekijä: Kazuo Ishiguro) (bibliobibuli, browner56)
    browner56: The consequences of misguided devotion treated from both the British and Japanese perspectives.
  2. 20
    Silmissä siintävät vuoret (tekijä: Kazuo Ishiguro) (bibliobibuli)
  3. 10
    Surullinen pianisti (tekijä: Kazuo Ishiguro) (Booksloth)
  4. 10
    The Gift of Rain (tekijä: Tan Twan Eng) (bibliobibuli)
    bibliobibuli: The Gift of Rain was greatly influenced by this book.
  5. 00
    Amerikkalainen pastoraali (tekijä: Philip Roth) (ateolf)
  6. 01
    The Sportswriter (tekijä: Richard Ford) (ateolf)
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englanti (78)  espanja (2)  kreikka (1)  katalaani (1)  ranska (1)  tanska (1)  Kaikki kielet (84)
Näyttää 1-5 (yhteensä 84) (seuraava | näytä kaikki)
Someone wrote about this novel:

"Page after page of mind numbing detail”…...except that it is not.

After years of reading various translations of Japanese books one that that becomes not only obvious but central to everything is that Japanese society is highly stratified and ritualistic. So what appears to be page after page of mind numbing detail is in reality the lines that connects one thing or person to another and it also denotes the position or value of that thing or person to the other. Each single detail has a significance greater than its mass to the Japanese but seems trivial to us

Like a maze of interconnected lines intersecting at angles and on planes which if they could be seen in 3D would show the relationships and relative positions of each of the characters. I particularly liked one line that pretty much summed up just how different their culture is to ours. it goes like this when one person is describing the painting style of his teacher:

“And Mori-san made extensive use of the traditional device of of expressing emotion through the textiles which the woman holds or wears rather than the expression on her face.”

Different enough? Trying to understand simple things in another culture is difficult enough so how can we begin to approach the subtleties of another culture when we may not even begin to perceive anything in the first place. I recently read someone saying (of a different novel):

"I can say this story definitely unfolds in a very Japanese style. Methodical, systematic, carefully, calmly, quietly...these are all words that come to mind.”

or this:

"I am referring to the sense of order and duty that pervades Japanese culture."

Personally I find that time gets blurred both in and out of the novel, a bit like you are reading in another space entirely and the matter at hand is a bit like peeling onions, as it becomes clearer so it becomes less substantial. Such are most Japanese stories.

As to the story itself, it is about the changes that happened to Japanese society after the war and how one man (the artist) first of all finds the changes then finds his way through those changes. A sad yet soft tale. ( )
  Ken-Me-Old-Mate | Sep 24, 2020 |
I wanted so much to like this book better than I did. I appreciated the artistry of his prose and the difficulty of the story, a Japanese artist dealing with his family and feelings and views in the years just after World War II. Especially because it is so difficult to tell a first-person narration through a repressed character. And I did love the prose and the description was beautiful, but I do think that each book you read tells you more about what sort of reader you are and I realize, more and more, that I am a great lover of a compelling voice. ( )
  Katester123 | Sep 17, 2020 |
Ishiguro really loves to write about 'unspeakable secrets'. The actual 'sin' the artist committed is left unclear for very long in the book. His characters are flawed and interesting, and relations between the family members are so dynamic.
There's a melancholy in the memories, and you can really imagine yourself in the streets of the story. ( )
  stormnyk | Aug 6, 2020 |
Either this went way over my head or I did pick up on the major themes but just have no feelings about this book. This would probably be interesting to discuss with a group.
  j_tuffi | May 30, 2020 |
What a subtle and elegant book. I have, until now, thought of Ishiguro in the British tradition, what with all the scrupulous decorum and grand hopes. I suppose that is the danger of reading an author out of order. This book was very Japanese in the mono no aware way. This is not to say Ishiguro is not so very British, but rather that he is able to write more than one kind of book well, a rare and wonderful talent. ( )
1 ääni Eoin | Jun 3, 2019 |
Näyttää 1-5 (yhteensä 84) (seuraava | näytä kaikki)
In the second novel, An Artist of the Floating World, the teacher of discredited values is the narrator and main character. Mr. Ono is a retired painter and art master, and as in A Pale View of Hills, the story bobs about between reminiscences of different periods of the hero's life. Not that Mr. Ono is a hero: in fact, he is the least admirable and sympathetic of Ishiguro's chief characters, an opportunist and timeserver, adapting his views and even his artistic style to the party in power. So it comes that in the Thirties he deserts his first, westernizing master of painting for the strict, old-fashioned style and patriotic content of the imperialist, propaganda art.
lisäsi kidzdoc | muokkaaThe New York Review of Books, Gabrielle Annan (maksullinen sivusto) (Dec 7, 1989)
 
It is not unusual to find new novels by good writers, novels with precise wording, witty phrases, solid characterizations, scenes that engage. Good writers abound - good novelists are very rare. Kazuo Ishiguro is that rarity. His second novel, ''An Artist of the Floating World,'' is the kind that stretches the reader's awareness, teaching him to read more perceptively.
 
The year 1945, like 1830 and 1914, now seems a natural watershed – above all in countries which experienced national defeat, social upheaval and military occupation. An Artist of the Floating World, a beautiful and haunting novel by the author of A Pale View of the Hills, consists of the rambling reminiscences of a retired painter set down at various dates in the Japan of the late Forties. Americanisation is in full swing, national pride has been humbled, and the horror of the bombed cities and the loss of life is beginning to be counted. The young soldiers who came back from the war are turning into loyal corporation men, eager to forget the Imperial past and to dedicate the remainder of their lives to resurgent capitalism. Ishiguro’s narrator, Masuji Ono, has lost his wife and son but lives on with two daughters, one of whom is married. Were it not for his anxieties over his second daughter’s marriage negotiations, Ono could be left to subside into the indolence of old age. As it is, ‘certain precautionary steps’ must be taken against the investigations to be pursued, as a matter of course, by his prospective son-in-law. The past has its guilty secrets which Ono must slowly and reluctantly bring back to consciousness.
lisäsi kidzdoc | muokkaaThe London Review of Books, Patrick Parrinder (maksullinen sivusto) (Feb 6, 1986)
 

» Lisää muita tekijöitä (10 mahdollista)

Tekijän nimiRooliTekijän tyyppiKoskeeko teosta?Tila
Ishiguro, Kazuoensisijainen tekijäkaikki painoksetvahvistettu
Bützow, HeleneKääntäjämuu tekijäeräät painoksetvahvistettu
Broek, C.A.G. van denKääntäjämuu tekijäeräät painoksetvahvistettu
Case, DavidKertojamuu tekijäeräät painoksetvahvistettu
Sinun täytyy kirjautua sisään voidaksesi muokata Yhteistä tietoa
Katso lisäohjeita Common Knowledge -sivuilta (englanniksi).
Kanoninen teoksen nimi
Alkuteoksen nimi
Teoksen muut nimet
Alkuperäinen julkaisuvuosi
Henkilöt/hahmot
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Tärkeät paikat
Tärkeät tapahtumat
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Kirjaan liittyvät elokuvat
Palkinnot ja kunnianosoitukset
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Epigrafi (motto tai mietelause kirjan alussa)
Omistuskirjoitus
Vanhemmilleni
Ensimmäiset sanat
Jos tulette jonakin aurinkoisena päivänä sille pienelle puusillalle, jota kutsutaan täällä päin vieläkin Epäröinnin sillaksi, ja lähdette nousemaan sen luota alkavaa jyrkkää polkua, teidän ei tarvitse kävellä pitkällekään ennen kuin minun taloni katto jo pilkottaa neidonhiuspuiden latvojen välistä.
Sitaatit
Viimeiset sanat
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Erotteluhuomautus
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Englanninkielinen Wikipedia (1)

It is 1948. Japan is rebuilding her cities after the calamity of World War II, her people putting defeat behind them and looking to the future. The celebrated painter Masuji Ono fills his days attending to his garden, his house repairs, his two grown daughters and his grandson, and his evenings drinking with old associates in quiet Iantern-lit bars. His should be a tranquil retirement. But as his memories continually return to the past - to a life and a career deeply touched by the rise of Japanese militarism - a dark shadow begins to grow over his serenity.

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