Kinoshita Mokutaro (木下杢太郎) (1885~1945)was a Japanese author, dramaturge, poet, art historian and literary critic, as well as a licensed doctor specializing in dermatology during Taisho and early Showa period. Kinoshita published The Neck of wise Duban「醫師ドオバンの首」together with other pieces in a book entitled as The Dye House Izumiya「和泉屋染物店」in 1912. the one act play was written in 1910 based on the translation of Inoue Tsutomu(井上勤) to One Thousand And One Nights . The original story, which Kinoshita adapted, called in the Arabic manuscript The Story of King Yunan and the Sage Duban. This story forms part of the narrative cycle framed by the story of Fisherman and the Demon extended from third night to ninth night, while The Story of King Yunan and the Sage Duban occupied forth and fifth nights. Although Kinoshita relayed mainly on One Thousand And One Nights to write his work, but on the other side, there is a clear Western impact on his work. This western impact appears through two ways: first, indirect impact through the Japanese translation of “The Nights”, where it was translated from the English language version not original Arabic language version. Second, a direct impact across symbolic theater, and Those Western literal works addressed the beheaded theme such as Salomé by Oscar Wilde (1854-1900), or western adaptation of The Story of King Yunan and the Sage Dubans for instance Lila by Johann Wolfgang von Goethe (1749-1832). Oscar Wilde has great influence on the Japanese writers at the beginning of twenty century not only as a playwright but also as one of the founders of aesthetic frames in the beginning of modernity ages, one among Japanese writer was Kinoshita Mokutaro who adapted story from One Thousand And One Nights in his play The neck of wise Duban but subjected it to the Western form with much inspiration from Wild`s Salomé This thesis will pay more attention to the direct western impact on Kinoshita `s work through focusing on the compression between Wilde and Goethe`s works from one side and Kinoshita `s work from other side, trying to recover the intertextuality and interdiscourse between Kinoshita `s work and other two western works.
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