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Natsusa's team is an unlikely bunch, including but not limited to his stoic best friend and full-back Seiichirou Shingyouji, whose reliability and consistency Natsusa depends on; hot-headed first-year Yasunari Tsuru, who harbors a strong dislike for Natsusa, filling his senior's old position as back left wing; and Yuu Mashiro, who is struggling ...
The Lake is a short 1954 novel by the Japanese writer Yasunari Kawabata. [1] This book tells the story of a former schoolteacher named Gimpei Momoi. The Lake was adapted into a film by Yoshishige Yoshida under the title Woman of the Lake .
Yasunari Kawabata (川端 康成, Kawabata Yasunari, 11 June 1899 [a] – 16 April 1972 [1]) was a Japanese novelist and short story writer whose spare, lyrical, subtly-shaded prose works won him the 1968 Nobel Prize in Literature, the first Japanese author to receive the award. His works have enjoyed broad international appeal and are still ...
His English translation of the epic The Tale of Genji, published in 1976, was especially well received critically and is counted among the preferred modern translations. [ 1 ] Seidensticker is closely associated with the work of three major Japanese writers of the 20th century: Yasunari Kawabata , Jun'ichirō Tanizaki , and Yukio Mishima .
Palm-of-the-Hand Stories (掌の小説, Tenohira no shōsetsu or Tanagokoro no shōsetsu [a]) is the name Japanese author Yasunari Kawabata gave to 146 short stories he wrote during his long career. [ 1 ] [ 2 ] [ 3 ] The earliest stories were published in the early 1920s, with the last appearing posthumously in 1972.
Eventually Kawabata was the candidate that could be agreed upon, following the Swedish Academy's ambition in the 1960s to award authors from different language areas and parts of the world. [8] The committee had deliberated the Japanese authors Jun'ichirō Tanizaki and Yasunari Kawabata since 1960 and even sent a representative to Japan to ...
Watch firsthand, in 360 video, as Susan Sarandon listens and learns about refugees' hopes, dreams and journeys
Naruse biographer Catherine Russell sees Sound of the Mountain as a woman's film, as it reduces the book's perspective of Shingo in favour of the female characters who, with the exception of the passive Kikuko, act outspoken and independently, "trying to make their way in a world in which men like Shuichi have been psychologically destroyed by the war". [3]