Jukio Mišima – poslednji samuraj

Pisac Jukio Mišima odabrao je najfanatičniju, najjapanskiju smrt koja se može zamisliti. Pre tačno četrdeset godina, sa četiri kadeta iz svog „Društva štita“, neke vrste male privatne garde, Mišima je posetio komandanta Japanskih odrambenih snaga, kako se zvanično naziva Japanska armija. Na njegov mig, kadeti su uhvatili komandanta i držali ga pod pretnjom samurajskog mača, dok je Mišima, kroz zabarikadirana kancelarijska vrata, zahtevao da se Trideset drugi puk okupi u dvorištu i sasluša njegov govor.
 

Nekoliko minuta posle podneva izašao je na balkon i pozvao vojnike da se zajedno sa njim „dignu protiv posleratnog demokratskog sistema koji je Japanu oduzeo njegovu armiju i njegovu dušu“. Nameravao je da govori trideset minuta, ali pošto njegove reči nisu mogle da se čuju od poruga i zviždanja osam stotina razljućenih ljudi, prestao je da govori već posle sedam minuta, vratio se u komandantovu kancelariju i izvršio harakiri. Posle njega, to je učinio i njegov glavni kadet Morita.

Dva meseca kasnije Mišima bi (pravo ime mu je Kimitake Hiraoka) napunio četrdeset šestu. Napisao je četrdeset romana, osamnaest pozorišnih drama (sve su dugo izvođene), dvadeset tomova kratkih priča i dvadeset tomova književnih eseja. Režirao je, bio je glumac, savršen mačevalac i atleta, leteo je u fantomu „F-102“; dirigovao simfonijskim orkestrom; sedam puta je putovao oko sveta; tri puta bio na listi nominacija za Nobelovu nagradu. Bio je svetski čovek sa neutoljivom težnjom za životom, čovek koji je uvek „izgledao neobično sposoban da uživa u darovima svog čudesnog talenta i nadljudske volje“. Samoubistvo je planirao skoro celu godinu, ali niko od članova porodice ili intimnih prijatelja ništa nije znao o tome. O samoubistvu su čuli iz vesti na radiju.
 

Uprkos dugoj tradiciji harakirija u Japanu, sami Japanci jedva da su mogli da shvate Mišimin postupak bolje nego mi u Evropi i na Zapadu. Svako ko ga je poznavao – i Japanci i stranci – osetio se dužnim da pokuša da pronađe pravi razlog za ovaj njegov postupak. Svi su činili to jer im je bilo potpuno nemoguće da pretpostave šta se zapravo zbivalo u njegovoj glavi dok je sebi zarivao čelik u stomak.

Oni koji su mislili da je to učinio iz patriotskih strasti imali su već gotovo objašnjenje: u Japanu postoji duga krvava tradicija heroja mučenika za carsku stvar. Drugi su pomišljali da je u pitanju neizlečiva bolest, iscrpljen talenat, ili, jednostavno – ludilo. Samo nekoliko ljudi – iznenađujuće mali broj – upola glasa su pričali da je Mišima bio mazohist koji je uživao u sopstvenom bolju.

Ne izgleda, ipak, da bi ma koje od ovih objašnjenja bilo dovoljno da osvetli istinu o Mišiminom samoubistvu. Njegov američki biograf Džon Nejten napisao je da „cela Mišimina životna priča govori o njegovoj erotskoj opčinjenosti smrću“: da je celog svoga života strasno želeo da umre i da je svesno izabrao „patriotizam“ kao sredstvo za postizanje bolne „herojske“ smrti, koju je slavio u mnogim svojim delima.

Mišimu i sada stalno preispituju. I u Japanu i u svetu. Groznica njegove popularnosti za života povećana je još više posle njegovog spektakularnog samoubistva, ali je utihla već nekoliko godina posle, mada je i dalje, četrdeset godina posle smrti, Mišima najprevođeniji japanski pisac. Nije mogao da ga ugrozi niko živ – ni mrtav.

Japan se, baš onako kako je Mišima predviđao, rapidno i drastično menjao i plodovi američke kulture zatrpali su japanske književne i nacionalističke strasti. U toj zemlji sada studenti više ne demonstriraju protiv Amerikanaca i ne tuku se među sobom, već putuju po svetu sa fotoaparatima i komuniciraju internetom. U Japanu se čitaju neki drugi pisci, bliži mekom osećanju stvarnosti i mnogo dalji od stroge estetike, koju je proslavljao Mišima.

Neke rukopise Jukija Mišime, naročito pisma, drame, neke na brzinu napisane njegove romane, možda niko više nikada neće pročitati, ali nekoliko njegovih knjiga, što je on uvek potajno želeo, ostaće u baštini japanske i svetske književnosti i kulture da ih niko iz nje, verovatno, nikada ne izbriše. Uz romane „Zlatni paviljon“, „Posle banketa“, „Ispovesti maske“, to su, sigurno, i novela „Patritizam“ (svi prevedeni kod nas), u kojoj je, zauvek zatečena i Mišimina napaćena duša.


Mišiminu godišnjicu smrti u Japanu obeležavaju novinari, književni časopisi, ali i pripadnici organizacije „Issuikai“, japanski nacionalisti, koji se protive supremaciji SAD u svetu. Predstavnici te organizacije, čije ime banalno znači „Društvo preve srede u mesecu“ (jer se tada redovno sastaju), predstavljaju i najtvrđi deo nekadašnjeg „Društvo štita“, grupe studenata koji su bili okupljeni oko Jukija Mišime. Oni, zajedno sa Mišimom, slave i njegovog glavnog kadeta i ljubavnika Moritu, koji se ubio zajedno sa njim 25. novembra 1970. godine. Mišimina porodica, međutim, isto kao i pre četiri decenije, ne želi da se pojavljuje u javnosti niti daje bilo kakve izjave. Za njih Mišimina smrt kao da se juče dogodila.

Dragan Milenković
“Politika”

http://pulse.sm-art.info/

 

Japanci obeležavaju 40 godina od samoubistva Jukia Mišime

Fanovi čuvenog japanskog pisca Jukia Mišime, obeležavaju 40 godina od ritualnog samoubistva autora.


Fanovi konzervativnog japanskog pisca Jukia Mišime, okupili su se u Tokiju da svečano  obeleže 40 godina od ritualnog samurajskog samoubistva, čuvenog autora.
U ritualu zvanom "seppuku" Jukio Mišima proboo je sam sebe u znak protesta.
Jedan od najuticajnijih japanskih pisaca iz perioda posle Drugog svetskog rata, u svojim delima protivio se "pozapadnjenju" Japana i promovisao ideje tradicije i perioda japanskog carstva.
Iako ga je zapadna štampa često bojkotovala, zbog ekstremnih i konzervativističkih stavova, Mišima je tri puta bio nominovan za Nobelovu nagradu.

Brutalnost i elegancija...

Međutim, Mišimini stavovi nisu se zadržali samo u njegovim delima, novembra 1970. godine, pisac je pokušao je da izvede paravojni udar na sopstvenu državu.
Organizovavaši malu privatnu vojsku 'Tatenokai' ("Društvo štita")  pokušao je da izvrši udar na Japan. Kada se ispostavilo da će pokušaj propasti, Mišima je, uzvikujući tri puta "Živeo car!" izvadio svoj mač iz 17 veka, i zaboo ga u sopstveni stomak.

http://www.trojka.rs/cool-tura/3631-japanci-obelezavaju-samoubistvo-jukia-misime.html

U Mišiminom "Zatnom paviljonu" je takodje u pitanju nasino uništenje, samo je u pitanju uništenje prelepog hrama.

Nezadovoljstvo Mišime ljudskom nesavršenošću i traganje za načinima da se iz tog jada nesavršenosti izadje, kroz kulturu, kroz disciplinu političku i sportsku, da bi na kraju "nesavšenu ponižavajuću prirodnu smrt" zamenio "savršenim uzvišenim samoubistvom" i time na čudan način, sebe povezao sa parolom i praksom tadašnjeg zapada 60tih hippy pokreta "umri mlad i budi lep leš" samo takva parola shvaćena japanskim načinom mišljenja.

danas je drugačije vreme, svi bi da požive što duže, odbacije se bilo kakva disciplina, kultura je postala suvišna, a više nema ni one i onakve USA iz Mišiminog vremena. a i mrzi me da više pišem...

1/12
цео филм: http://video.google.com/videoplay?docid=1738417127358558711#

Jukio Mišima - umetnost, suicid i homoseksualnost- ПДФ

Yukio Mishima (三島 由紀夫 Mishima Yukio?) was the pen name of Kimitake Hiraoka (平岡 公威 Hiraoka Kimitake?, January 14, 1925 – November 25, 1970), a Japanese author, poet, playwright, actor and film director, also remembered for his ritual suicide by seppuku after a failed coup d'état. Nominated three times for the Nobel Prize in Literature, Mishima was internationally famous and is considered one of the most important Japanese authors of the 20th century, whose avant-garde work displayed a blending of modern and traditional aesthetics that broke cultural boundaries, with a focus on sexuality, death, and political change.[3]
Contents
[hide]

    1 Early life
    2 Schooling and early works
    3 Post-war literature
    4 Acting
    5 Private life
    6 Coup attempt and ritual suicide
    7 Aftermath
    8 Politics
    9 Awards
    10 Major works
    11 Plays for classical Japanese theatre
    12 Films
    13 Photo modeling
    14 Works about Mishima
    15 Notes and references
    16 External links

[edit] Early life
Mishima in his childhood (ca. April 1931)

Mishima was born in the Yotsuya district of Tokyo (now part of Shinjuku). His father was Azusa Hiraoka, a government official, and his mother, Shizue, was the daughter of a school principal in Tokyo. His paternal grandparents were Jotarō and Natsuko Hiraoka. He had a younger sister named Mitsuko, who died of typhus, and a younger brother named Chiyuki.

Mishima's early childhood was dominated by the shadow of his grandmother, Natsu, who took the boy and separated him from his immediate family for several years.[4] Natsu was the illegitimate granddaughter of Matsudaira Yoritaka, the daimyo of Shishido in Hitachi Province, and had been raised in the household of Prince Arisugawa Taruhito; she maintained considerable aristocratic pretensions even after marrying Mishima's grandfather, a bureaucrat who had made his fortune in the newly opened colonial frontier and who rose to become Governor-General of Karafuto. She was also prone to violence and morbid outbursts, which are occasionally alluded to in Mishima's works.[5] It is to Natsu that some biographers have traced Mishima's fascination with death.[6] Natsu did not allow Mishima to venture into the sunlight, to engage in any kind of sport or to play with other boys; he spent much of his time alone or with female cousins and their dolls.[5]

Mishima returned to his immediate family at 12. His father, a man with a taste for military discipline, employed such tactics as holding the young boy up to the side of a speeding train; he also raided Mishima's room for evidence of an "effeminate" interest in literature and often ripped up the boy's manuscripts.
[edit] Schooling and early works
Young Mishima in school uniform (ca. February 1940)

At age six, Mishima enrolled in the elite Peers School (Gakushuin 学習院).[7] At 12, Mishima began to write his first stories. He read voraciously the works of Oscar Wilde, Rainer Maria Rilke and numerous classic Japanese authors. After six years at school, he became the youngest member of the editorial board in its literary society. Mishima was attracted to the works of Tachihara Michizō, which in turn created an appreciation for the classical form of the waka. Mishima's first published works included waka poetry, before he turned his attention to prose.

He was invited to write a prose short story for the Peers' School literary magazine and submitted Hanazakari no Mori (花ざかりの森 The Forest in Full Bloom), a story in which the narrator describes the feeling that his ancestors somehow still live within him. Mishima’s teachers were so impressed with the work that they recommended it for the prestigious literary magazine, Bungei-Bunka (文芸文化 Literary Culture). The story, which makes use of the metaphors and aphorisms which later became his trademarks, was published in book form in 1944, albeit in a limited fashion (4,000 copies) because of the wartime shortage of paper. In order to protect him from a possible backlash from his schoolmates, his teachers coined the pen-name "Yukio Mishima".

Mishima's story Tabako (煙草 The Cigarette), published in 1946, describes some of the scorn and bullying he faced at school when he later confessed to members of the school's rugby union club that he belonged to the literary society. This trauma also provided material for the later story Shi o Kaku Shōnen (詩を書く少年 The Boy Who Wrote Poetry) in 1954.

Mishima received a draft notice for the Imperial Japanese Army during World War II. At the time of his medical check up, he had a cold and spontaneously lied to the army doctor about having symptoms of tuberculosis; he was thus declared unfit for service.

Although his father had forbidden him to write any further stories, Mishima continued to write secretly every night, supported and protected by his mother, who was always the first to read a new story. Attending lectures during the day and writing at night, Mishima graduated from the University of Tokyo in 1947. He obtained a position as an official in the government's Finance Ministry and was set up for a promising career.

However, Mishima had exhausted himself so much that his father agreed to his resigning from his position during his first year in order to devote his time to writing.
[edit] Post-war literature

Mishima wrote novels, popular serial novellas, short stories and literary essays, as well as highly acclaimed plays for the Kabuki theater and modern versions of traditional Noh drama.

Mishima began the short story Misaki nite no Monogatari (岬にての物語 A Story at the Cape) in 1945, and continued to work on it through the end of World War II. In January 1946, he visited famed writer Yasunari Kawabata in Kamakura, taking with him the manuscripts for Chūsei (中世 The Middle Ages) and Tabako, and asking for Kawabata’s advice and assistance. In June 1946, per Kawabata's recommendations, Tabako was published in the new literary magazine Ningen (人間 Humanity).

Also in 1946, Mishima began his first novel, Tōzoku (盗賊 Thieves), a story about two young members of the aristocracy drawn towards suicide. It was published in 1948, placing Mishima in the ranks of the Second Generation of Postwar Writers. He followed with Confessions of a Mask, a semi-autobiographical account of a young latent homosexual who must hide behind a mask in order to fit into society. The novel was extremely successful and made Mishima a celebrity at the age of 24. Around 1949, Mishima published a series of essays in Kindai Bungaku on Yasunari Kawabata, for whom he had always had a deep appreciation.

His writing gained him international celebrity and a sizable following in Europe and the United States, as many of his most famous works were translated into English. Mishima traveled extensively; in 1952 he visited Greece, which had fascinated him since childhood. Elements from his visit appear in Shiosai (潮騒 Sound of the Waves), which was published in 1954, and which drew inspiration from the Greek legend of Daphnis and Chloe.

Mishima made use of contemporary events in many of his works. The Temple of the Golden Pavilion in 1956 is a fictionalization of the burning of the famous temple in Kyoto. Utage no Ato (After the Banquet), published in 1960, so closely followed the events surrounding politician Hachirō Arita's campaign to become governor of Tokyo that Mishima was sued for invasion of privacy.[8] In 1962, Mishima's most avant-garde work, Utsukushii Hoshi (Beautiful Star), which at times comes close to science fiction, was published to mixed critical response.

Mishima was among those considered for the Nobel Prize for Literature three times and was the darling of many foreign publications. However, in 1968 his early mentor Kawabata won the Nobel Prize and Mishima realized that the chances of it being given to another Japanese author in the near future were slim.
[edit] Acting

Mishima was also an actor, and had a starring role in Yasuzo Masumura's 1960 film, Afraid to Die. He also has had roles in films including Yukoku (1966), Black Lizard (1968) and Hitokiri (1969). He also sang the theme song for Hitokiri.
[edit] Private life
Yukio Mishima (lower) with Shintarō Ishihara in 1956.

In 1955, Mishima took up weight training and his workout regimen of three sessions per week was not disrupted for the final 15 years of his life. In his 1968 essay Sun and Steel, Mishima deplored the emphasis given by intellectuals to the mind over the body. Mishima later also became very skillful at kendō.

Although he visited gay bars in Japan, Mishima's sexual orientation remains a matter of debate, though his widow wanted that part of his life downplayed after his death.[9] However, several people have claimed to have had homosexual relationships with Mishima, including writer Jiro Fukushima who, in his book, published a revealing correspondence between himself and the famed novelist. Soon after publication, Mishima's children successfully sued Fukushima for violating Mishima's privacy.[10] After briefly considering a marital alliance with Michiko Shōda— who later became the wife of Emperor Akihito — he married Yoko Sugiyama on June 11, 1958. The couple had two children, a daughter named Noriko (born June 2, 1959) and a son named Ichiro (born May 2, 1962).

In 1967, Mishima enlisted in the Ground Self Defense Force (GSDF) and underwent basic training. A year later, he formed the Tatenokai (Shield Society), a private army composed primarily of young students who studied martial principles and physical discipline, and swore to protect the Emperor. Mishima trained them himself. However, under Mishima's ideology, the emperor was not necessarily the reigning Emperor, but rather the abstract essence of Japan. In Eirei no Koe (Voices of the Heroic Dead), Mishima actually denounces Emperor Hirohito for renouncing his claim of divinity at the end of World War II.

In the last 10 years of his life, Mishima wrote several full length plays, acted in several movies and co-directed an adaptation of one of his stories, Patriotism, the Rite of Love and Death. He also continued work on his final tetralogy, Hōjō no Umi (Sea of Fertility), which appeared in monthly serialized format starting in September 1965.
[edit] Coup attempt and ritual suicide
Mishima delivering his speech in the failed coup attempt just prior to committing seppuku (ca. November 25th 1970)

On November 25, 1970, Mishima and four members of the Tatenokai, under pretext, visited the commandant of the Ichigaya Camp — the Tokyo headquarters of the Eastern Command of Japan's Self-Defense Forces.[9] Inside, they barricaded the office and tied the commandant to his chair. With a prepared manifesto and banner listing their demands, Mishima stepped onto the balcony to address the soldiers gathered below. His speech was intended to inspire a coup d'état restoring the powers of the emperor. He succeeded only in irritating them, however, and was mocked and jeered. He finished his planned speech after a few minutes, returned to the commandant's office and committed seppuku. The customary kaishakunin duty at the end of this ritual had been assigned to Tatenokai member Masakatsu Morita, but Morita was unable to properly perform the task. After several failed attempts, he allowed another Tatenokai member, Hiroyasu Koga, to behead Mishima. Morita himself attempted to commit seppuku that day as well. When he failed, Koga once again performed the kaishakunin duty.

Another traditional element of the suicide ritual was the composition of jisei no ku (death poems) before their entry into the headquarters.[11] Mishima planned his suicide meticulously for at least a year and no one outside the group of hand-picked Tatenokai members had any indication of what he was planning. His biographer, translator and former friend John Nathan suggests that the coup attempt was only a pretext for the ritual suicide of which Mishima had long dreamed.[12] Mishima made sure his affairs were in order and left money for the legal defense of the three surviving Tatenokai members.
[edit] Aftermath

Much speculation has surrounded Mishima's suicide. At the time of his death he had just completed the final book in his The Sea of Fertility tetralogy.[9] He was recognized as one of the most important post-war stylists of the Japanese language.

Mishima wrote 40 novels, 18 plays, 20 books of short stories, and at least 20 books of essays, one libretto, as well as one film. A large portion of this oeuvre comprises books written quickly for profit, but even if these are disregarded, a substantial body of work remains.
[edit] Politics

Mishima espoused a very individual brand of nationalism towards the end of his life. He was hated by leftists, in particular for his outspoken and anachronistic commitment to bushidō (the code of the samurai) and by mainstream nationalists for his contention, in Bunka Bōeiron (文化防衛論 A Defense of Culture), that Hirohito should have abdicated and taken responsibility for the war dead.
[edit] Awards