{"id":82613,"date":"2024-10-02T08:20:38","date_gmt":"2024-10-02T06:20:38","guid":{"rendered":"https:\/\/elbiblionauta.com\/ca\/?p=82613"},"modified":"2025-01-08T09:46:10","modified_gmt":"2025-01-08T08:46:10","slug":"la-ciencia-ficcio-al-japo-com-imaginar-el-futur-despres-del-desastre","status":"publish","type":"post","link":"https:\/\/elbiblionauta.com\/ca\/2024\/10\/02\/la-ciencia-ficcio-al-japo-com-imaginar-el-futur-despres-del-desastre\/","title":{"rendered":"La ci\u00e8ncia ficci\u00f3 al Jap\u00f3: Com imaginar el futur despr\u00e9s del desastre [per Pau Pitarch]"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"82613\" class=\"elementor elementor-82613\" data-elementor-post-type=\"post\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-2f33661b elementor-section-full_width elementor-section-height-default elementor-section-height-default\" data-id=\"2f33661b\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-7b5b7488\" data-id=\"7b5b7488\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-45709fb1 elementor-widget elementor-widget-heading\" data-id=\"45709fb1\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h3 class=\"elementor-heading-title elementor-size-default\">OPINI\u00d3<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-255a20ad elementor-widget elementor-widget-heading\" data-id=\"255a20ad\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h1 class=\"elementor-heading-title elementor-size-default\">La ci\u00e8ncia ficci\u00f3 al Jap\u00f3: Com imaginar el futur despr\u00e9s del desastre [per Pau Pitarch]<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1e6f0f5d elementor-widget elementor-widget-text-editor\" data-id=\"1e6f0f5d\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>La literatura de l&#8217;Imperi del Sol Naixent \u00e9s rica i variada i va molt m\u00e9s enll\u00e0 dels deliris apocal\u00edptics d&#8221;Akira&#8217;, tot i que la finitud i el desastre s\u00f3n focus innegables del seu art, almenys des de la II Guerra Mundial.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-2a69bf91 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"2a69bf91\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-inner-column elementor-element elementor-element-3f79c9b5\" data-id=\"3f79c9b5\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-6a827a57 elementor-widget elementor-widget-post-info\" data-id=\"6a827a57\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"post-info.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<ul class=\"elementor-inline-items elementor-icon-list-items elementor-post-info\">\n\t\t\t\t\t\t\t\t<li class=\"elementor-icon-list-item 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fa-envelope\" aria-hidden=\"true\"><\/i>\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-grid-item\" role=\"listitem\">\n\t\t\t\t\t\t<div class=\"elementor-share-btn elementor-share-btn_print\" role=\"button\" tabindex=\"0\" aria-label=\"Compartici\u00f3 en print\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-share-btn__icon\">\n\t\t\t\t\t\t\t\t<i class=\"fas fa-print\" aria-hidden=\"true\"><\/i>\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-6ecf6a03 elementor-section-full_width elementor-section-height-default elementor-section-height-default\" data-id=\"6ecf6a03\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-4207e133\" data-id=\"4207e133\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-28f3b414 elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"28f3b414\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span 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data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"1600\" height=\"900\" src=\"https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/09\/cifi-japonesa.jpg\" class=\"attachment-full size-full wp-image-82621\" alt=\"\" srcset=\"https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/09\/cifi-japonesa.jpg 1600w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/09\/cifi-japonesa-300x169.jpg 300w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/09\/cifi-japonesa-1024x576.jpg 1024w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/09\/cifi-japonesa-768x432.jpg 768w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/09\/cifi-japonesa-1536x864.jpg 1536w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/09\/cifi-japonesa-240x135.jpg 240w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/09\/cifi-japonesa-640x360.jpg 640w\" sizes=\"(max-width: 1600px) 100vw, 1600px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-4ca97f8 elementor-widget elementor-widget-author-box\" data-id=\"4ca97f8\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"author-box.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-author-box\">\n\t\t\t\t\t\t\t<div  class=\"elementor-author-box__avatar\">\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2020\/08\/favicon2_2020.jpg\" alt=\"Picture of Pau Pitarch*\" loading=\"lazy\">\n\t\t\t\t<\/div>\n\t\t\t\n\t\t\t<div class=\"elementor-author-box__text\">\n\t\t\t\t\t\t\t\t\t<div >\n\t\t\t\t\t\t<h1 class=\"elementor-author-box__name\">\n\t\t\t\t\t\t\tPau Pitarch*\t\t\t\t\t\t<\/h1>\n\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1ed3748d elementor-widget elementor-widget-text-editor\" data-id=\"1ed3748d\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Universitat de Waseda<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-11a47046 elementor-widget elementor-widget-text-editor\" data-id=\"11a47046\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h2><strong>Des dels inicis als anys 30<\/strong><\/h2><p>Els principis de la ci\u00e8ncia ficci\u00f3 japonesa es troben a l\u2019inici de la pr\u00f2pia modernitat al Jap\u00f3. Fins i tot abans que el shogunat Tokugawa don\u00e9s pas a l\u2019obertura de l\u2019era Meiji l\u2019any 1868, ja podem trobar obres com <em>Seisei kaishinhen<\/em> (<em>Bones noves de l\u2019expedici\u00f3 a Occident<\/em>, 1857) d\u2019<strong>Iwagaki Gessh\u016b<\/strong> que imaginen el futur proper del pa\u00eds. <strong>Encara sota la prohibici\u00f3 shogunal absoluta de descriure esdeveniments contemporanis, Iwagaki recorre a la imaginaci\u00f3 especulativa per narrar com un pa\u00eds asi\u00e0tic de ficci\u00f3 lluita contra l\u2019atac colonial de l\u2019Imperi Brit\u00e0nic<\/strong>. Un cop el nou govern Meiji va convertir la idea de progr\u00e9s i modernitat en la ideologia oficial, imaginar el futur va ser una de les vies principals dels autors japonesos per participar en la incipient discussi\u00f3 p\u00fablica sobre el futur del pa\u00eds.<\/p><p>L\u2019abundant producci\u00f3 de literatura ut\u00f2pica europea del s. XIX va trobar al Jap\u00f3 un p\u00fablic entusiasta, i aviat les traduccions van donar pas a obres originals pr\u00f2pies. En la d\u00e8cada dels 1880, quan el pa\u00eds discutia apassionadament com havia de ser la promesa nova Constituci\u00f3 de 1889, el g\u00e8nere de ficci\u00f3 serialitzat de m\u00e9s \u00e8xit eren les <em>seiji sh\u014dsetsu<\/em> (\u2018novel\u00b7les pol\u00edtiques\u2019), que molt sovint es presentaven com a imaginacions del futur d\u2019un pa\u00eds modernitzat, recordant el moment clau de les reformes Meiji. <em>23-nen no mirai-ki<\/em>; (<em>Cr\u00f2nica del futur de l\u2019any 23<\/em>, 1885) o <em>Setch\u016bbai<\/em> (<em>Flors de cirerer nevades<\/em>, 1886) en s\u00f3n dos exemples cl\u00e0ssics de <strong>Suehiro Tetch\u014d<\/strong>.<\/p><p>Una altra font d\u2019inspiraci\u00f3 important varen ser les obres de<strong> Jules Verne<\/strong>, de qui es van traduir una quinzena de t\u00edtols diferents entre 1879 i 1887. <strong>Sobretot el seu <em>Vingt mille lieues sous les mers<\/em> (<em>Vint mil lleg\u00fces de viatge submar\u00ed<\/em>, 1870) va inspirar nombroses recreacions japoneses, que hi van trobar el material perfecte per narrar aventures fant\u00e0stiques<\/strong>, per\u00f2 tamb\u00e9 per pensar en el paper del Jap\u00f3 com a potencial v\u00edctima del colonialisme europeu i alhora com a colonitzador. A <em>Ukishiro monogatari<\/em> (<em>Hist\u00f2ria del castell flotant<\/em>, 1890), per exemple, <strong>Yano Ry\u016bkei<\/strong> descriu un vaixell japon\u00e8s equipat amb armes futuristes que lluita contra colonitzadors europeus a l\u2019Oce\u00e0 \u00cdndic. <em>Kait\u014d b\u014dken kitan: Kaitei gunkan<\/em> (<em>L\u2019aventura de l\u2019illa misteriosa: vaixell de guerra submar\u00ed<\/em>, 1900) d<strong>\u2019Oshikawa Shunr\u014d<\/strong> parteix d\u2019un esquema similar, per\u00f2 \u00e9s encara m\u00e9s expl\u00edcit enaltint els propis projectes imperialistes japonesos al Pac\u00edfic en el context de rivalitat amb l\u2019Imperi rus que va desembocar en la guerra russo-japonesa de 1904-1905. Aquestes i altres obres van establir un <strong>g\u00e8nere de ficci\u00f3 militar futurista que continuaria en diverses formes fins al final de la Segona Guerra Mundial<\/strong>, combinant nacionalisme i utopia cient\u00edfica.<\/p><p>Tamb\u00e9 va haver-hi textos m\u00e9s pr\u00f2piament ut\u00f2pics, com <em>Shin shakai<\/em> (<em>Nova societat<\/em>, 1902) del mateix Yano, que va inspirar activistes pol\u00edtics com l\u2019anarquista <strong>\u014csugi Sakae<\/strong>, o com <em>K\u016bch\u016b seifuku<\/em> (<em>La conquesta de l\u2019aire<\/em>, 1922) de <strong>Kagawa Toyohiko<\/strong>, que en to m\u00e9s humor\u00edstic descriu com els ciutadans d\u2019Osaka es veuen for\u00e7ats a viure en globus aerost\u00e0tics per escapar de la pol\u00b7luci\u00f3 industrial. <strong>En el camp de la distopia, un dels textos que m\u00e9s influ\u00e8ncia ha tingut ha estat la novel\u00b7la curta \u201cKappa\u201d (1927) d\u2019Akutagawa Ry\u016bnosuke<\/strong>, potser l\u2019autor m\u00e9s fam\u00f3s de relats en japon\u00e8s. Narrada per un malalt mental que diu haver estat al pa\u00eds dels kappa (\u00e9ssers mitol\u00f2gics que viuen sota l\u2019aigua), i de clara inspiraci\u00f3 swiftiana, aquesta obra es pot llegir com una <strong>cr\u00edtica ferotge de la modernitzaci\u00f3 japonesa<\/strong> tant en el seu aspecte econ\u00f2mic (al m\u00f3n dels kappa, els treballadors que perden la feina s\u00f3n escorxats i devorats) com cultural (els llibres es produeixen mec\u00e0nicament a base d\u2019omplir unes m\u00e0quines amb cervell d\u2019ase picat). Si b\u00e9 \u201cKappa\u201d no va trobar gaire ress\u00f2 entre els seus contemporanis, va inspirar altres obres com \u201cNonsharan kiroku\u201d (\u201cCr\u00f2nica de Nonsharan\u201d 1929) de <strong>Sat\u014d Haruo<\/strong>, on la dimensi\u00f3 dist\u00f2pica s\u2019est\u00e9n a la manipulaci\u00f3 gen\u00e8tica que converteix les classes oprimides en h\u00edbrids d\u2019hum\u00e0 i vegetal, per fer-ne plantes decoratives per a les classes altes.<\/p><p>Menci\u00f3 a part mereix <em>Ginga tetsud\u014d no yoru<\/em> (<em>La nit del tren de la Via L\u00e0ctia<\/em>, 1934) de<strong> Miyazawa Kenji<\/strong>. Tot i ser una obra inacabada i haver circulat en quatre versions diferents, \u00e9s <strong>una de les obres que m\u00e9s han influ\u00eft sobre el sentit de la meravella de la imaginaci\u00f3 especulativa japonesa<\/strong>. Extremadament densa en al\u00b7lusions cient\u00edfiques, religioses i filos\u00f2fiques, tant japoneses i asi\u00e0tiques com occidentals, la hist\u00f2ria de Giovanni i el seu amic Campanella viatjant per l\u2019espai en tren ha trobat ecos moltes d\u00e8cades despr\u00e9s, sigui en l\u2019imaginari de s\u00e8ries de manga i animaci\u00f3 com <em>Galaxy Express 999<\/em> (1977-1981) de <strong>Leiji Matsumoto<\/strong>, o en la ci\u00e8ncia ficci\u00f3 on\u00edrica i quim\u00e8rica de la d\u00e8cada dels setanta.<\/p><p>Des de finals dels vint, la literatura es va convertir en un fenomen de masses, fos en forma de ficci\u00f3 serialitzada en revistes com <em>King<\/em>, o en llibres barats de butxaca a l\u2019abast de tothom. <strong>En el cas de la ci\u00e8ncia ficci\u00f3, una de les publicacions pioneres va ser la revista <em>Shinseinen <\/em>(<em>Nova joventut<\/em>)<\/strong>. Originalment dedicada a les hist\u00f2ries d\u2019aventures, <em>Shinseinen<\/em> va convertir-se en el vehicle principal de la literatura m\u00e9s arriscada de misteri, horror i ci\u00e8ncia ficci\u00f3, sovint en formes h\u00edbrides protagonitzades per cient\u00edfics bojos o genis criminals. Altres publicacions m\u00e9s convencionals, de caire m\u00e9s obertament did\u00e0ctic, com <em>Kagaku gah\u014d<\/em> (<em>Ci\u00e8ncia il\u00b7lustrada<\/em>) o <em>Kodomo no kagaku<\/em> (<em>La ci\u00e8ncia dels infants<\/em>) publicaven tamb\u00e9 obres serialitzades que poden llegir-se com els primers experiments de la ci\u00e8ncia ficci\u00f3 en el sentit contemporani.<\/p><p>Al Jap\u00f3 no li faltaven les condicions materials ni un p\u00fablic \u00e0vid de ficci\u00f3 amb voluntat especulativa, per\u00f2<strong> les condicions pol\u00edtiques no van permetre que es desenvolup\u00e9s un mercat similar al del <em>pulp <\/em>anglosax\u00f3 de publicacions com <em>Amazing Stories<\/em><\/strong>. A mida que els estaments militars anaven ocupant una posici\u00f3 m\u00e9s central en la pol\u00edtica japonesa durant els anys 30, la censura va anar fent desapar\u00e8ixer obres considerades poc patri\u00f2tiques o immorals, i el g\u00e8nere va acabar redu\u00eft a hist\u00f2ries propagand\u00edstiques sobre com el Jap\u00f3 vencia els seus enemics amb l\u2019ajut d\u2019alguna arma fant\u00e0stica futurista. Quan \u00e8xits com <em>Kasei heidan<\/em> (<em>El cos d\u2019ex\u00e8rcit de Mart<\/em>, 1939-1940) d\u2019<strong>Unno J\u016bza<\/strong> es van publicar de nou a la postguerra, van haver d\u2019esporgar-se de nou per eliminar-ne el nacionalisme imperialista. Tot i aix\u00ed, <strong>hi ha algunes obres on es poden apreciar certs intents contestataris com <em>Midori no nissh\u014dki<\/em> (<em>El sol naixent verd<\/em>, 1939) de Kigi Takatar\u014d<\/strong>, que segueix la l\u00ednia oficial presentant el Jap\u00f3 com a model d\u2019una nova societat ut\u00f2pica a l\u2019\u00c0sia Central, per\u00f2 tamb\u00e9 criticant obertament la invasi\u00f3 de la Xina com un error que portaria l\u2019Imperi a la seva destrucci\u00f3.<\/p><h2><strong>Des de 1945 als anys 60 <\/strong><\/h2><p>Despr\u00e9s de la derrota de 1945, la pol\u00edtica cultural de l\u2019ocupaci\u00f3 nord-americana del pa\u00eds va esfor\u00e7ar-se per eliminar tota tra\u00e7a del militarisme que havia dominat la cultura japonesa de masses en la d\u00e8cada anterior, i la ci\u00e8ncia ficci\u00f3 va poder tornar a explorar altres vies d\u2019expressi\u00f3. <strong>La d\u00e8cada dels 50 va ser clau per a l\u2019establiment de les infraestructures institucionals i editorials del g\u00e8nere al Jap\u00f3<\/strong>. El 1954 apareix <em>Seiun <\/em>(<em>N\u00e8bula<\/em>), la primera revista en japon\u00e8s especialitzada en ci\u00e8ncia ficci\u00f3, editada per l\u2019autor i traductor <strong>Yano Tetsu<\/strong>. Nom\u00e9s va sortir-ne un n\u00famero, per\u00f2 va servir de model a altres projectes com <em>Uch\u016bjin <\/em>(<em>Pols de l\u2019espai<\/em>, 1957-2002), <em>fanzine<\/em> editat per <strong>Shibano Takumi<\/strong> que va durar fins al s. XXI. L\u2019editorial Hayakawa shob\u014d llan\u00e7a la primera col\u00b7lecci\u00f3 especialitzada en ci\u00e8ncia ficci\u00f3 el 1957, al principi a base de traduccions de l\u2019angl\u00e8s i m\u00e9s tard tamb\u00e9 amb obres originals en japon\u00e8s. L\u2019editorial T\u014dky\u014d S\u014dgen-sha va seguir-ne el model el 1963 amb la seva col\u00b7lecci\u00f3 especialitzada en format butxaca: S\u014dgen SF bunko. El 1959 Hayakawa treu la revista <em>SF Magazine<\/em>, que encara segueix activa el 2024. Editada per <strong>Fukushima Masami<\/strong>, la revista va comen\u00e7ar publicant sobre tot traduccions, per\u00f2 el 1961 comen\u00e7a un concurs de ci\u00e8ncia ficci\u00f3 original per promocionar obres noves en japon\u00e8s.<\/p><p>La primera gran convenci\u00f3 del g\u00e8nere, el Nihon SF Taikai, t\u00e9 lloc el 1962, i l\u2019any seg\u00fcent es funda el Nihon SF Sakka Kurabu (Club d\u2019Autors de Ci\u00e8ncia Ficci\u00f3 del Jap\u00f3, conegut normalment per les sigles del seu nom oficial en angl\u00e8s SFWJ: Science Fiction and Fantasy Writers of Japan). Aquestes dues institucions estan lligades als dos premis m\u00e9s importants del g\u00e8nere al Jap\u00f3 actual. <strong>El Premi Seiun<\/strong> (anomenat aix\u00ed en honor a la primera revista del g\u00e8nere) es concedeix cada any des de 1970 per votaci\u00f3 de tots aquells que assisteixen al Nihon SF Taikai. <strong>El Nihon SF taish\u014d (Gran Premi de Ci\u00e8ncia Ficci\u00f3 del Jap\u00f3)<\/strong> s\u2019atorga des del 1980 per votaci\u00f3 dels membres del SFWJ. Durant aquests anys d\u2019expansi\u00f3 editorial, el g\u00e8nere experimenta un mini-boom en termes de publicacions peri\u00f2diques i apareixen revistes com <em>Kis\u014d tengai<\/em> (<em>Extraordinari<\/em>), <em>SF Adventure<\/em>, <em>SF no hon<\/em> (<em>Llibres de ci\u00e8ncia ficci\u00f3<\/em>), <em>Shishi-\u014d<\/em> (<em>El rei lle\u00f3<\/em>). Totes desapareixerien per\u00f2 amb la crisi econ\u00f2mica dels anys noranta, i <strong>el 2024 nom\u00e9s queda en actiu <em>SF Magazine<\/em>, publicada cada dos mesos<\/strong>.<\/p><p>En termes d\u2019autors concrets, <strong>gran part de la cr\u00edtica veu en la novel\u00b7la d\u2019Abe K\u014db\u014d <em>Dai-yon kampy\u014dki<\/em> (<em>La quarta inter-era glacial<\/em>, 1958) el comen\u00e7ament de la ci\u00e8ncia ficci\u00f3 japonesa de postguerra<\/strong>. Considerat un dels noms m\u00e9s importants de la literatura japonesa del s. XX en qualsevol g\u00e8nere, Abe fa servir aqu\u00ed el motiu del s\u00faper-ordinador capa\u00e7 de predir el comportament hum\u00e0 per tractar temes existencialistes al voltant de la identitat, contra el transfons de la Guerra Freda. <strong>Un altre escriptor clau va ser Hoshi Shin\u2019ichi, autor de m\u00e9s d\u2019un miler de \u2018short short\u2019 (\u2018hist\u00f2ries curtes curtes\u2019)<\/strong> que empraven sovint motius de la ci\u00e8ncia ficci\u00f3 per tractar temes filos\u00f2fics i morals, sempre amb una agud\u00edssima ironia i un gran sentit de l\u2019humor. Per la seva brevetat i la seva qualitat memorable, les seves contribucions a revistes tant del g\u00e8nere com destinades al p\u00fablic general van contribuir molt a la difusi\u00f3 de la ci\u00e8ncia ficci\u00f3 al Jap\u00f3. <strong>Tsutsui Yasutaka<\/strong> \u00e9s un altre autor que va explotar la vena c\u00f2mica i absurda del g\u00e8nere com Hoshi, per\u00f2 tamb\u00e9 va ser capa\u00e7 de produir obres que despr\u00e9s han tingut molt d\u2019\u00e8xit en adaptacions a altres mitjans com <em>Toki o kakeru sh\u014djo<\/em> (<em>La noia que corria a trav\u00e9s del temps<\/em>, 1967) o <em>Paprika<\/em> (1993).<\/p><h2><strong>Dels anys 70 als 90<\/strong><\/h2><p><strong>El primer gran \u00e8xit del g\u00e8nere des de la postguerra va ser sense cap dubte <em>Nippon chinbotsu<\/em> (<em>El Jap\u00f3 s\u2019enfonsa<\/em>, 1973) de Komatsu Saky\u014d<\/strong>. Protagonitzada per un cient\u00edfic que descobreix els senyals d\u2019un megaterratr\u00e8mol imminent capa\u00e7 de destruir tot l\u2019arxip\u00e8lag japon\u00e8s, la novel\u00b7la de Komatsu va molt m\u00e9s enll\u00e0 de la ficci\u00f3 de desastres, explorant no nom\u00e9s la dimensi\u00f3 sismol\u00f2gica de la hist\u00f2ria, sin\u00f3 tamb\u00e9 aprofitant aquesta situaci\u00f3 extrema per retratar la part m\u00e9s fosca de la industrialitzaci\u00f3 i democratitzaci\u00f3 de postguerra, i reflexionar sobre la identitat japonesa en l\u2019era de creixement econ\u00f2mic accelerat. La novel\u00b7la va tenir m\u00faltiples adaptacions al cinema, la TV i el manga. \u00a0<strong>\u00c9s un text tan fam\u00f3s, que fins i tot les seves par\u00f2dies han estat adaptades al cinema<\/strong>, com el conte de Tsutsui \u201cNihon igai zenbu chinbotsu\u201d (\u201cTot s\u2019enfonsa menys el Jap\u00f3\u201d). Komatsu \u00e9s autor tamb\u00e9 d\u2019obres molt ambicioses d\u2019abast c\u00f2smic com <em>Hateshi naki nagare no hate ni<\/em> (<em>A la fi d\u2019un corrent interminable<\/em>, 1966) o <em>Fukkatsu no hi<\/em> (<em>El dia de la resurrecci\u00f3<\/em>, 1964). Aquesta darrera novel\u00b7la descriu els esfor\u00e7os de la humanitat per sobreviure despr\u00e9s d\u2019una una pand\u00e8mia global causada per un virus respiratori combinada amb una apocalipsi nuclear. Va tenir una ambiciosa versi\u00f3 cinematogr\u00e0fica el 1980 dirigida per <strong>Fukasaku Kinji<\/strong> amb un repartiment multinacional, per\u00f2 va acabar sent un gran frac\u00e0s comercial. Komatsu tamb\u00e9 va formar part del comit\u00e8 tem\u00e0tic de l\u2019Exposici\u00f3 Universal d\u2019Osaka de 1970, amb el tema \u2018Jinrui no shinpo to ch\u014dwa\u2019 (\u2018L\u2019harmonia i el progr\u00e9s de la humanitat\u2019).<\/p><p>La ci\u00e8ncia ficci\u00f3 japonesa dels anys 70 i 80 va tenir una gran varietat i originalitat. Va haver-hi novel\u00b7les estil <em>new wave<\/em> que combinaven motius cient\u00edfics i religiosos amb una est\u00e8tica on\u00edrica o surrealista, com <em>Hyakuoku no hiru to sen&#8217;oku no yoru<\/em> (<em>Deu mil milions de dies i cent mil milions de nits<\/em>, 1967) de Mitsuse Ry\u016b o <em>Shinsei-dai<\/em> (<em>L\u2019era sagrada<\/em>, 1978) d\u2019<strong>Aramaki Yoshio<\/strong>. Tamb\u00e9 ci\u00e8ncia ficci\u00f3 militar de batalles de naus com <em>Sent\u014d Y\u014dsei Yukikaze<\/em> (<em>Nau espacial Fada Yukikaze<\/em>, 1984) de <strong>Kanbayashi Ch\u014dhei<\/strong>. O ci\u00e8ncia ficci\u00f3 m\u00e9s \u2018dura\u2019 sobre viatges a l\u2019espai com la s\u00e8rie <em>K\u014dk\u016b uch\u016b-gun shi<\/em> (<em>Hist\u00f2ria de la For\u00e7a Aeroespacial<\/em>, 1983) de <strong>Tani K\u014dsh\u016b<\/strong>. Fins i tot <em>s<\/em><em>pace opera<\/em> d\u2019aire \u00e8pic com <em>Ginga eiy\u016b densetsu<\/em> (<em>La llegenda dels herois de la via l\u00e0ctia<\/em>, 1982-1989) de <strong>Tanaka Yoshiki<\/strong>. I reflexions sobre les relacions entre la humanitat i la Intel\u00b7lig\u00e8ncia Artificial com <em>Hybrid Child<\/em> (1990) d\u2019<strong>\u014chara Mariko<\/strong>, i tantes altres m\u00e9s.<\/p><p>Aquest assaig tracta sobre l\u2019evoluci\u00f3 de la literatura de ci\u00e8ncia ficci\u00f3 japonesa, per\u00f2 <strong>\u00e9s impossible entendre el desenvolupament del g\u00e8nere sense tenir en compte la seva pres\u00e8ncia en altres mitjans com el <em>manga<\/em> o l\u2019animaci\u00f3<\/strong>. La ci\u00e8ncia ficci\u00f3 va tenir un paper cabdal en la formaci\u00f3 est\u00e8tica de l\u2019anomenat \u201cD\u00e9u del manga\u201d <strong>Tezuka Osamu<\/strong>, que va cr\u00e9ixer llegint s\u00e8ries com les d\u2019<strong>Unno J\u016bza<\/strong> de nen. <strong>Tezuka no nom\u00e9s va llan\u00e7ar la seva carrera amb <em>manga<\/em> de ci\u00e8ncia ficci\u00f3 com <em>Metropolis <\/em>(1949), sin\u00f3 que va ser el creador del personatge que va posar en marxa la ind\u00fastria japonesa dels mitjans de masses<\/strong>. El seu personatge Tetsuwan Atomu (\u201cAtom Bra\u00e7 de Ferro\u201d, conegut internacionalment com a Astro Boy), un robot amb emocions humanes que lluita per la just\u00edcia, va comen\u00e7ar en format <em>manga<\/em> (1952-1968) i el 1963 es va convertir en el primer <em>anime<\/em> d\u2019\u00e8xit massiu. \u00a0Tant en t\u00e8cniques de dibuix i producci\u00f3, com en imbricaci\u00f3 de m\u00e0rqueting multim\u00e8dia entre diferents plataformes (all\u00f2 que al Jap\u00f3 s\u2019anomena el <em>media mix<\/em>) i material promocional (joguines, roba, etc.). <strong>El cam\u00ed que va marcar Tetsuwan Atomu el van seguir despr\u00e9s s\u00e8ries d\u2019animaci\u00f3 de gran \u00e8xit internacional com <em>Mazinger Z<\/em> (1973-1974), <em>Uch\u016b senkan Yamato<\/em> (<em>Nau espacial de combat Yamato<\/em>, 1974-1975) o <em>Kid\u014d senshi Gandamu<\/em> (conegut internacionalment com a <em>Mobile Suit Gundam<\/em>, 1979\u20131980)<\/strong>. L\u2019\u00e8xit massiu d\u2019aquestes s\u00e8ries als 70 van crear l\u2019espai est\u00e8tic que m\u00e9s tard desenvoluparien obres mestres del ciberpunk d\u2019animaci\u00f3 com <em>Akira<\/em> (dir. <strong>\u014ctomo Katsuhiro<\/strong>, 1988) i <em>K\u014dkaku kid\u014dtai<\/em> (<em>Ghost in the Shell<\/em>, dir. <strong>Oshii Mamoru<\/strong>, 1995), aprofundint en temes m\u00e9s filos\u00f2fics, o recreacions existencialistes del g\u00e8nere \u201cmega-robot de combat\u201d com <em>Shinseiki Evangerion<\/em> (<em>Neon Genesis Evangelion<\/em>, dir. <strong>Anno Hideaki<\/strong>, 1995-1996).<\/p><h2><strong>El segle XXI<\/strong><\/h2><p>Tot i el desenvolupament del g\u00e8nere en altres mitjans com l\u2019animaci\u00f3, el <em>manga<\/em> o els videojocs, <strong>als 90 i principis del s. XXI la literatura de ci\u00e8ncia ficci\u00f3 japonesa semblava estancada en els mateixos temes i f\u00f3rmules de sempre<\/strong>. No va ser fins a l\u2019aparici\u00f3 de l\u2019obra d\u2019<strong>It\u014d Keikaku<\/strong> que el g\u00e8nere va tornar a trobar noves fonts de creativitat. Abans de morir v\u00edctima del sarcoma d\u2019Ewing als 34 anys, It\u014d va publicar tot just dues novel\u00b7les i en va deixar una d\u2019inacabada, per\u00f2<strong> la seva figura marca un abans i un despr\u00e9s clar en l\u2019evoluci\u00f3 de la ci\u00e8ncia ficci\u00f3 japonesa<\/strong>. <em>Gyakusatsu kikan<\/em> (<em>\u00d2rgan genocida<\/em>, 2007) combina la ficci\u00f3 militar amb la filosofia del llenguatge, a trav\u00e9s de la figura d\u2019un terrorista global que causa matances all\u00e0 on va simplement manipulant informaci\u00f3 i plantant idees en el subconscient col\u00b7lectiu. <em>\u00a0Harmony <\/em>(2008) presenta el costat fosc d\u2019una utopia futura en la qu\u00e8 la malaltia ha estat erradicada, per\u00f2 a canvi d\u2019un control biopol\u00edtic total sobre el cos i la psique humana. <em>Shisha no teikoku<\/em> (<em>L\u2019imperi dels cad\u00e0vers<\/em>, 2012) combina el <em>pastiche<\/em> de literatura del s. XIX (de <strong>Conan Doyle<\/strong> a <strong>Dostoyevsky<\/strong>), l&#8217;<em>steampunk<\/em> i la hist\u00f2ria alternativa, en una aventura de ritme trepidant que fa la volta a un m\u00f3n on els cad\u00e0vers es poden reanimar i fer servir com a esclaus de l\u2019expansi\u00f3 imperialista. Amic personal del fam\u00f3s dissenyador de videojocs <strong>Kojima Hideo<\/strong>, It\u014d va col\u00b7laborar-hi tamb\u00e9 en la novel\u00b7litzaci\u00f3 del seu joc <em>Metal Gear Solid 4: Guns of the Patriots<\/em> (2008).<\/p><p>Alguns dels noms m\u00e9s representatius de la generaci\u00f3 post-It\u014d s\u00f3n els seg\u00fcents: <strong>Toh EnJoe<\/strong> va ser de fet l\u2019encarregat d\u2019acabar de donar-li forma al manuscrit de <em>Shisha no teikoku<\/em>. La seva ficci\u00f3 explora temes de f\u00edsica, matem\u00e0tiques i computaci\u00f3 a trav\u00e9s d\u2019una experimentaci\u00f3 molt original amb el llenguatge en totes les seves formes. <strong>Toh \u00e9s un dels autors contemporanis amb m\u00e9s pres\u00e8ncia al m\u00f3n de la ficci\u00f3 <em>mainstream<\/em>, i va guanyar el 2011 la 146a edici\u00f3 del Premi Akutagawa<\/strong>, el m\u00e9s medi\u00e0tic dels premis per a autors novells de ficci\u00f3 liter\u00e0ria. <strong>Ueda Sayuri<\/strong> \u00e9s coneguda sobretot per les novel\u00b7les i contes de la seva <em>Ocean Chronicle<\/em>, poblada per h\u00edbrids d\u2019\u00e9ssers humans i animals aqu\u00e0tics. <strong>Tobi Hirotaka<\/strong> ha convertit en la seva marca d\u2019identitat hist\u00f2ries protagonitzades per intel\u00b7lig\u00e8ncies artificials i bases de dades. <strong>Fujii Taiy\u014d<\/strong> s\u2019ha especialitzat en <em>techno-thrillers<\/em> sobre manipulaci\u00f3 gen\u00e8tica i tecnologia espacial. <strong>Ogawa Issui<\/strong> ha aconseguit que una s\u00e8rie d&#8217;<em>space opera<\/em> de disset volums com <em>Tenmei no shirube<\/em> (<em>El cam\u00ed de l\u2019espai<\/em>, 2009-2019) es converteixi en un \u00e8xit de vendes m\u00e9s enll\u00e0 del <em>fandom<\/em>.<\/p><p><strong>La ci\u00e8ncia ficci\u00f3 tamb\u00e9 ocupa una part important del g\u00e8nere de ficci\u00f3 juvenil conegut com a <em>light novel<\/em><\/strong>. Els trops de la ci\u00e8ncia ficci\u00f3 han estat una de les fonts principals des dels principis de la <em>light novel<\/em>, amb \u00e8xits com <em>Suzumiya Haruhi no Y\u016butsu<\/em> (<em>La malenconia de Suzumiya Haruhi<\/em>, 2003) de <strong>Tanigawa Nagaru<\/strong>. Un dels subg\u00e8neres m\u00e9s importants de la <em>light novel<\/em>, per exemple, \u00e9s l\u2019anomenat <em>isekai<\/em> (\u2018m\u00f3n diferent\u2019) on el protagonista es troba de cop en un altre m\u00f3n (real, fant\u00e0stic o virtual) en el qual ha de sobreviure. <strong>S\u00e8ries com <em>Sword Art Online<\/em> (2009-) de Kawahara Reki han sabut combinar \u00a0amb molt d\u2019\u00e8xit ci\u00e8ncia ficci\u00f3 amb models narratius propers als videojocs per crear una nova generaci\u00f3 de fans del g\u00e8nere<\/strong>. Alguns \u00e8xits de la <em>light novel<\/em> de ci\u00e8ncia ficci\u00f3 han arribat a superar les fronteres del mercat japon\u00e8s, com <em>All You Need Is Kill<\/em> (2004) de <strong>Sakurazaka Hiroshi<\/strong>, que va tenir una adaptaci\u00f3 cinematogr\u00e0fica titulada <em>Edge of Tomorrow<\/em> (dir. <strong>Doug Liman<\/strong>, 2014) amb <strong>Tom Cruise<\/strong> com a protagonista. Tamb\u00e9 t\u00e9 un deute important amb la ci\u00e8ncia ficci\u00f3 l\u2019obra de <strong>Shinkai Makoto<\/strong>, potser el director d\u2019animaci\u00f3 amb m\u00e9s \u00e8xit de masses actualment, en tant que les seves hist\u00f2ries projecten conflictes i drames personals a una escala planet\u00e0ria, lligant all\u00f2 individual a all\u00f2 c\u00f2smic en l\u2019estil conegut com a <em>sekai-kei<\/em> (\u201cestil de m\u00f3n\u201d).<\/p><p>Tot i que no s\u2019acostumen a promocionar com a \u2018ci\u00e8ncia ficci\u00f3\u2019<strong> hi ha molts \u00e8xits de la literatura de ficci\u00f3 convencional dels darrers quaranta anys que s\u2019hi basen clarament per bastir els seus mons i conflictes dram\u00e0tics<\/strong>. <em>Sekai no owari to h\u0101do-boirudo wand\u0101rando<\/em> (<em>Despietat pa\u00eds de les meravelles i la Fi del M\u00f3n<\/em>, 1985) del super-vendes global <strong>Murakami Haruki<\/strong> tracta el tema de la psique humana en termes b\u00e0sicament <em>cyberpunk<\/em> (i no \u00e9s estrany perqu\u00e8 \u00e9s pr\u00e0cticament contempor\u00e0nia de <em>Neuromancer <\/em>(1984) de <strong>William Gibson<\/strong>).<em> Hisoyaka na kessh\u014d<\/em> (<em>Cristalitzaci\u00f3 secreta<\/em>, 1994) d\u2019<strong>Ogawa Y\u014dko<\/strong>, tot i no ser el <em>thriller<\/em> que sembla prometre <em>The Memory Police<\/em>, el t\u00edtol de la seva traducci\u00f3 anglesa, s\u00ed que es situa clarament en la tradici\u00f3 de la ficci\u00f3 dist\u00f2pica moderna.<\/p><p>Aix\u00ed com les crisis del contacte amb l\u2019imperialisme del s. XIX o la derrota at\u00f2mica de 1945 van marcar la ci\u00e8ncia ficci\u00f3 japonesa en altres moments, <strong>al s. XXI el <em>tsunami <\/em>i fuita radioactiva de Fukushima 1 el 2011, o la lenta cat\u00e0strofe demogr\u00e0fica per la caiguda de la natalitat han estat experi\u00e8ncies que han marcat l\u2019art japon\u00e8s en totes les seves formes expressives.<\/strong><\/p><p>La literatura generalista ha trobat en la ci\u00e8ncia ficci\u00f3 un repertori d\u2019imatges i formes expressives que li han perm\u00e8s explorar les incerteses que s\u2019albiren en el futur proper de la societat japonesa. A <em>Kent\u014dshi <\/em>(<em>L\u2019enviat<\/em>, 2014), per exemple, <strong>Tawada Y\u014dko<\/strong> presenta un Jap\u00f3 futur envellit, debilitat per les cat\u00e0strofes naturals, on els infants s\u00f3n cada cop m\u00e9s malaltissos. La novel\u00b7la curta de <strong>Murata Sayaka<\/strong> \u201cSatsujin shussan\u201d (\u201cPart homicida\u201d, 2014) tracta amb el sarcasme i l\u2019humor negre caracter\u00edstics de la seva autora els discursos simb\u00f2lics al voltant de la reproducci\u00f3 i l\u2019embar\u00e0s, imaginant un Jap\u00f3 futur en qu\u00e8 tant homes com dones poden gestar, i el govern premia aquells que donen a llum a deu infants amb el dret de matar qui vulguin sense cap repercussi\u00f3 legal. \u00a0<strong>Altres guanyadors recents de premis literaris generalistes medi\u00e0tics tamb\u00e9 han fet \u00fas sense complexes del llenguatge de la ci\u00e8ncia ficci\u00f3<\/strong>. La guanyadora del 165\u00e8 Premi Akutagawa <strong>Li Kotomi<\/strong> imagina a <em>Higanbana ga saku shima<\/em> (<em>L\u2019illa dels lliris vermells<\/em>, 2021) una hist\u00f2ria alternativa de l\u2019\u00c0sia Oriental i el seu efecte sobre l\u2019idioma japon\u00e8s. M\u00e9s recentment, la 168a edici\u00f3 del Premi Naoki va premiar la novel\u00b7la d\u2019<strong>Ogawa Satoshi<\/strong> <em>Chizu to kobushi<\/em> (<em>El mapa i el puny<\/em>, 2022), que repr\u00e8n el motiu de la ciutat ut\u00f2pica constru\u00efda a l\u2019\u00c0sia Central durant l\u2019expansi\u00f3 imperialista japonesa de la primera meitat del s. XX.<\/p><p>La literatura de ci\u00e8ncia ficci\u00f3 segueix al Jap\u00f3 amb bona salut com a g\u00e8nere, oferint un ric ventall de possibilitats imaginatives per encarar les preocupacions actuals de la societat japonesa en termes ecol\u00f2gics, econ\u00f2mics i tecnol\u00f2gics. <strong>A trav\u00e9s de les seves expressions en g\u00e8neres com el <em>manga<\/em> i l\u2019animaci\u00f3, ha trobat un p\u00fablic global que el mant\u00e9 com un dels llenguatges actuals claus per pensar el nostre futur<\/strong>.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-69da955 elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"69da955\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-bb2fa24 elementor-widget elementor-widget-text-editor\" data-id=\"bb2fa24\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><strong>BIBLIOGRAFIA<\/strong><\/p><p>Aguilar, Daniel. <em>Destellos de luna: pioneros de la ciencia ficci\u00f3n japonesa<\/em>. Satori, 2016.<\/p><p>Bolton, Christopher; Istvan Csicsery-Ronay i Takayuki Tatsumi (eds.). <em>Robot Ghosts and Wired Dreams: Japanese Science Fiction from Origins to Anime<\/em>. University of Minnesota Press, 2007.<\/p><p>Daliot-Bul, Michal. \u201c<em>H\u014dchi\u2019s Strange Rumors: Tales of the Floating Castle<\/em>: A Critical Reading of an Early Japanese Hard Science Fiction Novel\u201d. <em>Japanese Studies<\/em> 39.3 (2019): 313-332.<\/p><p>Kawana, Sari. \u201cReading Beyond the Lines: Young Readers and Wartime Japanese Literature\u201d. <em>Book History<\/em> 13 (2010): 154-184.<\/p><p>Kurita, Kyoko. \u201cMeiji Japan&#8217;s Y23 Crisis and the Discovery of the Future: Suehiro Tetch\u014d&#8217;s <em>Nij\u016bsan-nen mirai-ki<\/em>\u201d. <em>Harvard Journal of Asiatic Studies<\/em> 60.1 (2000): 5-43.<\/p><p>Matthew, Robert. <em>Japanese Science Fiction: A View of a Changing Society<\/em>. Routledge, 1989.<\/p><p>Nagasawa, Tadashi. \u201cFrom Infiltration to Diversification: A Brief History of Japanese Science Fiction and Its Asian Context\u201d. <em>Mechademia<\/em> 14.1 (2021): 151-166.<\/p><p>Nagayama, Yasuo. <em>Nihon SF jiken-shi: Nihonteki s\u014dz\u014dryoku No 70-Nen<\/em>. Kawade shob\u014d shinsha, 2012.<\/p><p>_____. <em>Nihon SF seishin-shi: Bakumatsu\/Meiji kara Sengo made<\/em>. Kawade shob\u014d shinsha, 2009.<\/p><p>Posadas, Baryon Tensor. \u201cJapanese Science Fiction\u201d. <em>The New Routledge Companion to Science Fiction<\/em>, a cura de Mark Bould, Andrew M. Butler i Sherryl Vint. Routledge, 2024. 109-117.<\/p><p>Saito, Kumiko. \u201cReframing Modern Japanese Literature: Translation and Science Fiction in Meiji-Era Japan\u201d. <em>The Journal of Japanese Studies<\/em> 49.1 (2023): 57-83.<\/p><p>Tatsumi, Takayuki. \u201cGenerations and Controversies: An Overview of Japanese Science Fiction, 1957\u20131997\u201d. <em>Science Fiction Studies<\/em> 80 (2000): 105\u201314.<\/p><p>Toyota, Aritsune. <em>Nihon SF tanj\u014d: K\u016bs\u014d to kagaku no sakkatachi<\/em>. Bensei shuppan, 2019.<\/p><p>White, Brian. \u201c<a href=\"https:\/\/knowledge.uchicago.edu\/record\/3411?v=pdf\" target=\"_blank\" rel=\"noopener\">Speculative Communities: Discourse and the World of Cold War Japanese Science Fiction<\/a>\u201d. PhD diss. University of Chicago, 2021.\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-04782a8 elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"04782a8\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-fe584cf elementor-widget elementor-widget-text-editor\" data-id=\"fe584cf\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>* <b>Pau Pitarch Fern\u00e1ndez<\/b>\u00a0(Columbia University PhD) \u00e9s professor de Literatura Japonesa moderna a la Universitat de Waseda (T\u00f2quio, Jap\u00f3). La seva investigaci\u00f3 es centra en la interacci\u00f3 entre est\u00e8tica, psicologia i mercat en la formaci\u00f3 del camp literari japon\u00e8s durant la primera meitat del s. XX. Ha publicat articles acad\u00e8mics sobre les obres de Tanizaki Jun&#8217;ichir\u014d, Sat\u014d Haruo o Akutagawa Ry\u016bnosuke, entre altres.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-4c8ddde3 elementor-hidden-tablet elementor-hidden-phone\" data-id=\"4c8ddde3\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-23593449 elementor-widget elementor-widget-text-editor\" data-id=\"23593449\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>EL + NOU<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-190eec0b elementor-grid-1 elementor-posts--thumbnail-none elementor-grid-tablet-2 elementor-grid-mobile-1 elementor-widget elementor-widget-posts\" data-id=\"190eec0b\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;classic_columns&quot;:&quot;1&quot;,&quot;classic_columns_tablet&quot;:&quot;2&quot;,&quot;classic_columns_mobile&quot;:&quot;1&quot;,&quot;classic_row_gap&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:35,&quot;sizes&quot;:[]},&quot;classic_row_gap_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;classic_row_gap_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]}}\" data-widget_type=\"posts.classic\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-posts-container elementor-posts elementor-posts--skin-classic elementor-grid\" role=\"list\">\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-82613 post type-post status-publish format-standard has-post-thumbnail hentry category-cienci-ficcio category-fantasia category-article tag-altres-mons tag-opinio-cificat\" role=\"listitem\">\n\t\t\t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h3 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/elbiblionauta.com\/ca\/2024\/10\/02\/la-ciencia-ficcio-al-japo-com-imaginar-el-futur-despres-del-desastre\/\" >\n\t\t\t\tLa ci\u00e8ncia ficci\u00f3 al Jap\u00f3: Com imaginar el futur despr\u00e9s del desastre [per Pau Pitarch]\t\t\t<\/a>\n\t\t<\/h3>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t\t\t<span class=\"elementor-post-date\">\n\t\t\t2 d'octubre de 2024\t\t<\/span>\n\t\t\t\t<span class=\"elementor-post-avatar\">\n\t\t\t16 comentaris\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\n\t\t<a class=\"elementor-post__read-more\" href=\"https:\/\/elbiblionauta.com\/ca\/2024\/10\/02\/la-ciencia-ficcio-al-japo-com-imaginar-el-futur-despres-del-desastre\/\" aria-label=\"Read more about La ci\u00e8ncia ficci\u00f3 al Jap\u00f3: Com imaginar el futur despr\u00e9s del desastre [per Pau Pitarch]\" tabindex=\"-1\" >\n\t\t\t Llegir m\u00e9s \u00bb\t\t<\/a>\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/article>\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-81484 post type-post status-publish format-standard has-post-thumbnail hentry category-cienci-ficcio category-fantasia category-article tag-altres-mons tag-eurocifi tag-opinio-cificat\" role=\"listitem\">\n\t\t\t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h3 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/elbiblionauta.com\/ca\/2024\/03\/07\/levolucio-de-la-ciencia-ficcio-francesa-de-la-decada-de-1950-al-present\/\" >\n\t\t\t\tL\u2019evoluci\u00f3 de la ci\u00e8ncia-ficci\u00f3 francesa (II): de la d\u00e8cada de 1950 al present [per Manuela Mohr]\t\t\t<\/a>\n\t\t<\/h3>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t\t\t<span class=\"elementor-post-date\">\n\t\t\t7 de mar\u00e7 de 2024\t\t<\/span>\n\t\t\t\t<span class=\"elementor-post-avatar\">\n\t\t\t3 comentaris\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\n\t\t<a class=\"elementor-post__read-more\" href=\"https:\/\/elbiblionauta.com\/ca\/2024\/03\/07\/levolucio-de-la-ciencia-ficcio-francesa-de-la-decada-de-1950-al-present\/\" aria-label=\"Read more about L\u2019evoluci\u00f3 de la ci\u00e8ncia-ficci\u00f3 francesa (II): de la d\u00e8cada de 1950 al present [per Manuela Mohr]\" tabindex=\"-1\" >\n\t\t\t Llegir m\u00e9s \u00bb\t\t<\/a>\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/article>\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-81482 post type-post status-publish format-standard has-post-thumbnail hentry category-cienci-ficcio category-fantasia category-general category-article tag-altres-mons tag-eurocifi tag-opinio-cificat\" role=\"listitem\">\n\t\t\t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h3 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/elbiblionauta.com\/ca\/2024\/03\/05\/levolucio-de-la-ciencia-ficcio-francesa-del-segle-xix-a-la-decada-de-1940\/\" >\n\t\t\t\tL\u2019evoluci\u00f3 de la ci\u00e8ncia-ficci\u00f3 francesa (I): del segle XIX a la d\u00e8cada de 1940 [per Manuela Mohr]\t\t\t<\/a>\n\t\t<\/h3>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t\t\t<span class=\"elementor-post-date\">\n\t\t\t5 de mar\u00e7 de 2024\t\t<\/span>\n\t\t\t\t<span class=\"elementor-post-avatar\">\n\t\t\t5 comentaris\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\n\t\t<a class=\"elementor-post__read-more\" href=\"https:\/\/elbiblionauta.com\/ca\/2024\/03\/05\/levolucio-de-la-ciencia-ficcio-francesa-del-segle-xix-a-la-decada-de-1940\/\" aria-label=\"Read more about L\u2019evoluci\u00f3 de la ci\u00e8ncia-ficci\u00f3 francesa (I): del segle XIX a la d\u00e8cada de 1940 [per Manuela Mohr]\" tabindex=\"-1\" >\n\t\t\t Llegir m\u00e9s \u00bb\t\t<\/a>\n\n\t\t\t\t<\/div>\n\t\t\t\t<\/article>\n\t\t\t\t<article 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elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-inner-column elementor-element elementor-element-1219ffad\" data-id=\"1219ffad\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-6087d1c1 elementor-widget elementor-widget-text-editor\" data-id=\"6087d1c1\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>T&#8217;ha agradat? 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class=\"elementor-grid-item\" role=\"listitem\">\n\t\t\t\t\t\t<div class=\"elementor-share-btn elementor-share-btn_facebook\" role=\"button\" tabindex=\"0\" aria-label=\"Compartici\u00f3 en facebook\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-share-btn__icon\">\n\t\t\t\t\t\t\t\t<i class=\"fab fa-facebook\" aria-hidden=\"true\"><\/i>\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-grid-item\" role=\"listitem\">\n\t\t\t\t\t\t<div class=\"elementor-share-btn elementor-share-btn_twitter\" role=\"button\" tabindex=\"0\" aria-label=\"Compartici\u00f3 en twitter\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-share-btn__icon\">\n\t\t\t\t\t\t\t\t<i class=\"fab fa-twitter\" aria-hidden=\"true\"><\/i>\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-grid-item\" role=\"listitem\">\n\t\t\t\t\t\t<div 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tabindex=\"0\" aria-label=\"Compartici\u00f3 en print\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"elementor-share-btn__icon\">\n\t\t\t\t\t\t\t\t<i class=\"fas fa-print\" aria-hidden=\"true\"><\/i>\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<div class=\"elementor-element elementor-element-12e0ad3 elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"12e0ad3\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-5fc6f5b6 elementor-hidden-tablet elementor-hidden-phone\" data-id=\"5fc6f5b6\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-4dd81e05 elementor-section-full_width elementor-section-height-default elementor-section-height-default\" data-id=\"4dd81e05\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-1cb41cae\" data-id=\"1cb41cae\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-65290fa1 animated-slow elementor-hidden-desktop elementor-hidden-tablet elementor-invisible elementor-widget elementor-widget-image\" data-id=\"65290fa1\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;_animation&quot;:&quot;fadeIn&quot;,&quot;_animation_delay&quot;:500}\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/elbiblionauta.com\/ca\/projectes\/cataleg\/revista-freakcions\/\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"400\" src=\"https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/10\/banner-tots-mobil.png\" class=\"attachment-full size-full wp-image-82751\" alt=\"\" srcset=\"https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/10\/banner-tots-mobil.png 600w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/10\/banner-tots-mobil-300x200.png 300w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/10\/banner-tots-mobil-240x160.png 240w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/>\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-4ca4ed8a animated-slow elementor-hidden-mobile elementor-invisible elementor-widget elementor-widget-global elementor-global-71772 elementor-widget-image\" data-id=\"4ca4ed8a\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;_animation&quot;:&quot;fadeIn&quot;,&quot;_animation_delay&quot;:500}\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/elbiblionauta.com\/ca\/projectes\/cataleg\/revista-freakcions\/\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1106\" height=\"108\" src=\"https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/10\/banner-llarg-tots.png\" class=\"attachment-full size-full wp-image-82744\" alt=\"\" srcset=\"https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/10\/banner-llarg-tots.png 1106w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/10\/banner-llarg-tots-300x29.png 300w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/10\/banner-llarg-tots-1024x100.png 1024w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/10\/banner-llarg-tots-768x75.png 768w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/10\/banner-llarg-tots-240x23.png 240w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2024\/10\/banner-llarg-tots-640x62.png 640w\" sizes=\"(max-width: 1106px) 100vw, 1106px\" \/>\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-4847da73 elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"4847da73\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-198a4f63 elementor-widget elementor-widget-post-navigation\" data-id=\"198a4f63\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"post-navigation.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-post-navigation\" role=\"navigation\" aria-label=\"Post Navigation\">\n\t\t\t<div class=\"elementor-post-navigation__prev elementor-post-navigation__link\">\n\t\t\t\t<a href=\"https:\/\/elbiblionauta.com\/ca\/2023\/05\/02\/lhome-del-castell-1961-philip-k-dick\/\" rel=\"prev\"><span class=\"post-navigation__arrow-wrapper post-navigation__arrow-prev\"><i aria-hidden=\"true\" class=\"fas fa-angle-left\"><\/i><span class=\"elementor-screen-only\">Prev<\/span><\/span><span class=\"elementor-post-navigation__link__prev\"><span class=\"post-navigation__prev--label\">Anterior<\/span><span class=\"post-navigation__prev--title\">L&#8217;HOME DEL CASTELL (1961) &#8211; Philip K. Dick<\/span><\/span><\/a>\t\t\t<\/div>\n\t\t\t\t\t\t<div class=\"elementor-post-navigation__next elementor-post-navigation__link\">\n\t\t\t\t<a href=\"https:\/\/elbiblionauta.com\/ca\/2023\/05\/17\/lodissea-al-desert-del-manga-en-catala\/\" rel=\"next\"><span class=\"elementor-post-navigation__link__next\"><span class=\"post-navigation__next--label\">Seg\u00fcent<\/span><span class=\"post-navigation__next--title\">L&#8217;odissea al desert del manga en catal\u00e0<\/span><\/span><span class=\"post-navigation__arrow-wrapper post-navigation__arrow-next\"><i aria-hidden=\"true\" class=\"fas fa-angle-right\"><\/i><span class=\"elementor-screen-only\">Next<\/span><\/span><\/a>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-72b7d70c elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"72b7d70c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-63bf9c1b elementor-section-full_width elementor-section-height-default elementor-section-height-default\" data-id=\"63bf9c1b\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-no\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-19730157\" data-id=\"19730157\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-5e2f796a elementor-widget elementor-widget-text-editor\" data-id=\"5e2f796a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Tamb\u00e9 et pot interessar&#8230;<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-33a229f elementor-grid-tablet-3 elementor-grid-3 elementor-grid-mobile-1 elementor-posts--thumbnail-top elementor-posts--show-avatar elementor-card-shadow-yes elementor-posts__hover-gradient elementor-widget elementor-widget-posts\" data-id=\"33a229f\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;cards_columns_tablet&quot;:&quot;3&quot;,&quot;cards_columns&quot;:&quot;3&quot;,&quot;cards_columns_mobile&quot;:&quot;1&quot;,&quot;cards_row_gap&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:35,&quot;sizes&quot;:[]},&quot;cards_row_gap_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;cards_row_gap_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]}}\" data-widget_type=\"posts.cards\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-posts-container elementor-posts elementor-posts--skin-cards elementor-grid\" role=\"list\">\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-57270 post type-post status-publish format-standard has-post-thumbnail hentry category-fantasia category-ressenya category-terror tag-king_stephen tag-cfft-en-catala\" role=\"listitem\">\n\t\t\t<div class=\"elementor-post__card\">\n\t\t\t\t<a class=\"elementor-post__thumbnail__link\" href=\"https:\/\/elbiblionauta.com\/ca\/2020\/12\/03\/la-gran-caminada-1979-stephen-king\/\" tabindex=\"-1\" ><div class=\"elementor-post__thumbnail\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"1620\" src=\"https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2020\/10\/la-gran-caminada.jpg\" class=\"attachment-full size-full wp-image-56939\" alt=\"\" srcset=\"https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2020\/10\/la-gran-caminada.jpg 1000w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2020\/10\/la-gran-caminada-240x389.jpg 240w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2020\/10\/la-gran-caminada-640x1037.jpg 640w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2020\/10\/la-gran-caminada-185x300.jpg 185w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2020\/10\/la-gran-caminada-632x1024.jpg 632w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2020\/10\/la-gran-caminada-768x1244.jpg 768w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2020\/10\/la-gran-caminada-948x1536.jpg 948w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><\/div><\/a>\n\t\t\t\t<div class=\"elementor-post__avatar\">\n\t\t\t<img data-del=\"avatar\" alt=\"Daniel Gen\u00eds\" src='https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2022\/12\/dgenis23-150x150.png' class='avatar pp-user-avatar avatar-128 photo ' height='128' width='128'\/>\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h3 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/elbiblionauta.com\/ca\/2020\/12\/03\/la-gran-caminada-1979-stephen-king\/\" >\n\t\t\t\tLA GRAN CAMINADA (1979) &#8211; Stephen King\t\t\t<\/a>\n\t\t<\/h3>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t\t\t<span class=\"elementor-post-author\">\n\t\t\tDaniel Gen\u00eds\t\t<\/span>\n\t\t\t\t<span class=\"elementor-post-date\">\n\t\t\t3 de desembre de 2020\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-65296 post type-post status-publish format-standard has-post-thumbnail hentry category-cienci-ficcio category-ressenya tag-2s-2021 tag-cfft-en-catala tag-riera_elisabet\" role=\"listitem\">\n\t\t\t<div class=\"elementor-post__card\">\n\t\t\t\t<a class=\"elementor-post__thumbnail__link\" href=\"https:\/\/elbiblionauta.com\/ca\/2021\/10\/13\/efendi-2021-elisabet-riera\/\" tabindex=\"-1\" ><div class=\"elementor-post__thumbnail\"><img loading=\"lazy\" decoding=\"async\" width=\"1410\" height=\"2250\" src=\"https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2021\/12\/efendi-recomanat.jpg\" class=\"attachment-full size-full wp-image-68566\" alt=\"\" srcset=\"https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2021\/12\/efendi-recomanat.jpg 1410w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2021\/12\/efendi-recomanat-188x300.jpg 188w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2021\/12\/efendi-recomanat-642x1024.jpg 642w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2021\/12\/efendi-recomanat-768x1226.jpg 768w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2021\/12\/efendi-recomanat-963x1536.jpg 963w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2021\/12\/efendi-recomanat-1283x2048.jpg 1283w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2021\/12\/efendi-recomanat-240x383.jpg 240w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2021\/12\/efendi-recomanat-640x1021.jpg 640w\" sizes=\"(max-width: 1410px) 100vw, 1410px\" \/><\/div><\/a>\n\t\t\t\t<div class=\"elementor-post__avatar\">\n\t\t\t<img data-del=\"avatar\" alt=\"Tatiana Duny\u00f3\" src='https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2018\/12\/tatiana_biblionauta-150x150.jpg' class='avatar pp-user-avatar avatar-128 photo ' height='128' width='128'\/>\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h3 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/elbiblionauta.com\/ca\/2021\/10\/13\/efendi-2021-elisabet-riera\/\" >\n\t\t\t\tEFENDI (2021) &#8211; Elisabet Riera\t\t\t<\/a>\n\t\t<\/h3>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t\t\t<span class=\"elementor-post-author\">\n\t\t\tTatiana Duny\u00f3\t\t<\/span>\n\t\t\t\t<span class=\"elementor-post-date\">\n\t\t\t13 d'octubre de 2021\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<article class=\"elementor-post elementor-grid-item post-72022 post type-post status-publish format-standard has-post-thumbnail hentry category-ressenya tag-matheson_richard tag-cfft-en-catala\" role=\"listitem\">\n\t\t\t<div class=\"elementor-post__card\">\n\t\t\t\t<a class=\"elementor-post__thumbnail__link\" href=\"https:\/\/elbiblionauta.com\/ca\/2022\/04\/27\/la-casa-infernal-1971-richard-matheson\/\" tabindex=\"-1\" ><div class=\"elementor-post__thumbnail\"><img loading=\"lazy\" decoding=\"async\" width=\"552\" height=\"839\" src=\"https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2022\/04\/la-casa-infernal.jpeg\" class=\"attachment-full size-full wp-image-71949\" alt=\"\" srcset=\"https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2022\/04\/la-casa-infernal.jpeg 552w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2022\/04\/la-casa-infernal-197x300.jpeg 197w, https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2022\/04\/la-casa-infernal-240x365.jpeg 240w\" sizes=\"(max-width: 552px) 100vw, 552px\" \/><\/div><\/a>\n\t\t\t\t<div class=\"elementor-post__avatar\">\n\t\t\t<img data-del=\"avatar\" alt=\"Sergi G. Oset\" src='https:\/\/elbiblionauta.com\/ca\/wp-content\/uploads\/2021\/12\/oset-perfil-150x150.png' class='avatar pp-user-avatar avatar-128 photo ' height='128' width='128'\/>\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__text\">\n\t\t\t\t<h3 class=\"elementor-post__title\">\n\t\t\t<a href=\"https:\/\/elbiblionauta.com\/ca\/2022\/04\/27\/la-casa-infernal-1971-richard-matheson\/\" >\n\t\t\t\tLA CASA INFERNAL (1971) \u2013 Richard Matheson\t\t\t<\/a>\n\t\t<\/h3>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-post__meta-data\">\n\t\t\t\t\t<span class=\"elementor-post-author\">\n\t\t\tSergi G. 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