![]() ![]() In this book, Yasunari Kawabata uses the death of Yoko to embody the philosophy of 'living towards death'. At the end of the work, with the death of Yoko, everything that has ever happened and the emotional bond between Shimamura and Komako is reduced to nothing. In addition to blurring reality with scenery to create a sense of illusionary beauty, the sense of futility of 'wanting something' is present throughout the story. These aesthetics are strongly reflected in his work ‘Snow Country’. ![]() Kawabata’s writing is reminiscent of Japanese painting he is a worshipper of the fragile beauty and melancholy picture language of existence in the life of nature and in man’s destiny." Under the influence of Yasunari Kawabata the unique Japanese aesthetics nourished by the reserved, exquisite Japanese culture, such as ‘the beauty of lamentation of things’, ‘the beauty of reticence’ and ‘the beauty of futility’, have become more widely known around the world. he has, with greater fidelity, retained his footing in Japan’s classical literature and therefore represents a clear tendency to cherish and preserve a genuinely national tradition of style. ![]() In the ceremony speech of the Nobel Award in 1968, Anders Österling described him as, ". ![]() Born on 14 June 1899, Yasunari Kawabata is an iconic figure of Japanese literature who won the Nobel Prize in 1968, the second Asian writer to win this prize after Rabindranath Tagore. ![]()
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