Проблемы литератур Дальнего Востока

5. Literatures of Far East & South East Asia: Past and Present Issues of Far Eastern Literatures: Materials of the 11th International Scientific Cconference. June 27–29, 2024 80 Toropygina Maria (IOS RAS), meshtorop@gmail.com Types of Literary and Semi-literary Associations in Japan at the End of the 19th — Beginning of the 20th Centuries (Based on the Memoir ‘Thirty Years in Tokyo’ by Tayama Katai) Tayama Katai (1871–1930) has published his memoir ‘Thirty Years in Tokyo’ in 1917 at Hakubunkan publishing house. The book consists of 62 chapters of varying length. In his book, Tayama Katai talks about himself and his work, about the events in which he took part or was an observer, about the changes of Tokyo city. One of the main themes of the book is the literary situation: publications, became milestones in literature, the characters of writers, and the behind-the-scenes of literary life. Literary life in Meiji era Tokyo was very intense, and young people who wanted to become writers poured into the capital. Tayama Katai writes that in the middle of the Meiji era, several main literary associations determined the literary situation. Each association had its own characteristics, and besides the main ones, there were many other literary and semi-literary groups. For analysis, I’ve taken literary communities, to which Tayama Katai was associated. — Keien school of poetry. The school dates back to the famous poet and intellectual Kagawa Kageki (1768–1843). Tayama Katai studied with a follower of this poetic school Matsuura Tatsuo (1844– 1909). — The Ken'yūsha literary association, with Ozaki Kōyō (1867–1903) being the leader of the group. This association was the most powerful “writers’ organization”. Tayama Katai wanted to join the group, but did not become a full member. —The Ryūdokai Society, about which Tayama Katai talks quite a lot, being one of the key figures in this association. — The Ibsen Society, created by Yanagita Kunio (1875–1962) and his comrades (Tayama Katai is one of them) for the study of Western literature. These communities are being studied from the point of view of the ideological basis of their formation; the challenges they face; structures; ongoing events; relationships with other associations; access to the publication of works by community members; the presence or absence of its own cotery journals. Keywords: Japanese literature, Meiji era, literary associations, literary situation, Tayama Katai. Tsoy Inna (SPbSU), i.tsoy@spbu.ru Forms of Narration in Postmodern Stories by a South Korean Writer Jang Jeong-il (b. 1962) (I-narrative, You-narrative, He-narrative) South Korean writer Chang Jeong-il (b. 1962) is known in the literary community as an author of poetry, short and long prose, as a playwright, screenwriter and essayist. He is quite active and currently gives lectures at cultural events. Chang Jong-il's creative career began with poetic texts, in particular with the collection of poems “Meditation on a Burger” (1987), which was awarded a prestigious literary prize. Subsequently, the author switched to prose works and, starting with his debut story “Pelican” (1988), wrote such novels as “When Adam Opened His Eyes”, “I Send Myself to You” (there is a film adaptation), “Do you believe in jazz?” etc. Thus, Chang Jeong-il declared himself as a writer of the postmodernist movement in literature, becoming one of the most recognizable writers in the 90s of the 20th century, and when it comes to Korean authors of this movement, there is always a reference to his literary work. It is interesting to analyze par- ticular postmodern elements using the example of the composition and structure of specific literary texts. To date, some of Chang Jong-il’s works have been translated into European languages, but there are no translations into Russian yet. The speech will focus on the narrative structure of Chang Jong-il's three stories, in particular, the “I-narrative”, “You-narrative”, “He-narrative” (in the third or first person), through which narrators achieve objectivity or on the contrary, the subjectivity of the narrative. It is expected to identify