Spiritualism and modernism in the work of Kawabata Yasunari

Abstract

Kawabata Yasunari held a deep interest in the study of spiritualism from his very youth. He demonstrates his knowledge of the field in his writing in a variety of ways, particularly in the short stories he published during the prewar period. Thus far, scholarship has considered Kawabata's relationship with spiritualism primarily in terms of his biography: there has yet to be a satisfactorily rigorous study taking into account historical context and his use of spiritualism as novelistic technique. This article analyzes Kawabata and spiritualism with respect to modernism by looking at the short stories ‘The Full White Moon’, ‘Requiem’, and ‘Lyric Poem’. This analysis will also help illuminate the diversity of Kawabata's approaches to modernism.     

Kawabata's views of language and the postwar construction of a literary genealogy

Abstract

This paper shows the ways in which, in the immediate post-war period (1945–1951), Kawabata Yasunari (1899–1972) reflected on his earlier, pre-war literary career and re-envisioned his postwar literary trajectory by constructing a new genealogy of the modern novel in Japan, in relationship to the intricate issues of the literary styles of the modern novel, ‘national language’ (kokugo), and the literary tradition. By examining his Shin bunshō tokuhon (New Guide to Literary Language, 1950), which presents Kawabata's past and present views of literary language, I will argue that Kawabata's changing views of language and literary style must be understood in the context of contemporary debates over national language policy and language reform movements. I will show the manner by which Kawabata formulated his views of language in dialogue with his two rival writers: Yokomitsu Riichi (1898–1947) in the prewar period and Tanizaki Junichirō (1886–1965) in the postwar period. As we shall see, the death of his close literary colleague Yokomitsu in 1947 and Tanizaki's unflagging literary exploration during and following the war prompted Kawabata to position himself in a genealogy of modern Japanese literary writers as well as in relationship to the linguistic and literary tradition of Japan.     

The collaboration of ‘ghostwriting’ and literature – the case of Kawabata Yasunari

Abstract: Kawabata Yasunari is Japan's first Nobel Prize recipient for literature and thus an emblem of the modern Japanese writer, but as this essay demonstrates, this writer's career, like that of so many throughout Japan's premodern and modern history, is spanned by the curious practice of ghostwriting. Taking up the specific case of Kawabata, the article exposes a wider conflict between the modern West's notion of the original artist, underwritten by its idea of individualized creativity, and modern Japan's persistent adherence to ghostwriting's more collaborative premodern concept of creativity. Subjecting fine-grained literary historical analysis to its far-reaching theoretical consequences for the modernness of modern literature, Japanese and otherwise, this essay shows how the spectre of Kawabata's ghostwriting haunts our contemporary, and therefore possibly anachronistic, understanding of ‘modern’ literary practice.     

Body and experiment – reflecting Kawabata Yasunari's counter-aesthetics

Abstract

From his earliest works, Kawabata, known as an explicit aestheticist, deals in his works with flawed and disabled bodies in contrast to beautiful ones, evoking feelings of revulsion, awkwardness, disgust and premonitions of decay and death. The dynamism created out of these tensions and ruptures in the aestheticized world is scrutizined as hidden counter-aesthetics through questions such as: Which kinds of impairments are to be observed? Can they be classified according to grades? Are there gender specificities? How are these tensions and ruptures organized, and which categories (semantic, biological, political, moral) are concerned? Which narratorial and other functions are served through the counter-image of the flawed (impaired) body? And finally, how do the findings from these investigations into the flipside, the ‘Other’ of Kawabata's aesthetic universe, contribute to complementary or alternative ways of reading and understanding his literature? In a final section, Kawabata's treatment of female bodies as a site of experimenting with extreme situations of passivity and agency is highlighted, challenging more conventional readings of this and other works. The works discussed are from a deliberately broad chronological and generic range, including canonical and popular works. They range from the newspaper novels ‘Utsukushii!’ (1927) and ‘Maihime’ (1950/1), the novel ‘Senbazuru’ (1952) to the stories and palm-of-the-hand stories ‘Ningen no ashioto’ (1925),’Izu no odoriko’ (1926), ‘Mekura to shōjo’ (1928), ‘Utsukushiki haka’ (1929) ‘Hokuro no tegami’ (1940), ‘Sasabune’ (1950), and, in the final section, ‘Kataude’ (1963/4) and ‘Nemureru bijo’ (1960/1).     

Zimbabwean Indigenisation and the Shadow Economy of Cinematic Production

ABSTRACT

In recent years, Zimbabwe has suffered a political and economic crisis, which has generated impulses that have traumatised the country's film industry, among many other sectors. Resultantly, Zimbabwe's cinematic context of production has been reimagined and reconfigured in recent years. The southern African country's ruling elite, during former president Robert Mugabe's tenure, championed controversial policies of indigenisation in economic sectors, partly as a way of countering external economic and political hostilities. This article explores how the Zimbabwean film economy has responded to postcolonial indigenisation impulses and how the production context has developed parallel to or in tandem with this reality. It teases out the challenges and prospects posed by impulses of indigenisation in Zimbabwe to the country's fledgling film production industry by analysing the video-film production value chain post-2000, when the indigenisation agenda emerged and was consolidated. Informed by the theorisation of the shadow economies of cinema, the study employed in-depth interviews to collect data from purposively selected Zimbabwean filmmakers and policymakers. Thematic analysis was used to analyse this data. The study shows that indigenisation has been a pragmatic response to the economic trauma facing the film industry, although it has, in turn, sent out its own traumatic impulses that continue to affect the industry's structure and aesthetic.     

Introduction: Kawabata Yasunari in the twenty-first century

Abstract: This introduction argues that there is a need to engage in a fresh re-reading of Kawabata Yasunari. It proposes several possible approaches, including using Kawabata as a model for understanding processes of literary canonization, a rethinking of his reception around the globe during the Cold War period, and a historicization of his work in relation to the various censorship regimes that existed in twentieth-century Japan. It also provides brief summaries of the articles contained in this special issue.     

Painful Pleasure: The Politics and Aesthetics of Psychosocial Trauma in Impunity

Abstract

Continuous trauma syndrome (CTS) is the foundation for the characters in the film Impunity. The aesthetic choices in the narrative structure are an exploration of the discursive nature of violence and trauma in contemporary South African society. The theorising of continuous stress trauma provides the necessary challenge to the more conventional understanding of post-traumatic stress syndrome and informs the underlying analysis of the film. This analysis is offered in an interlocutory manner with psychology theorist Garth Stevens who provides a hermeneutic reading of Impunity that draws directly from his own research and others in the field of psychology. The paper is offered as an examination of an artistic research, film practice. The practice itself constitutes a theoretical expression which connects the aesthetic and structural choices of the film with the disciplinary observations made by Stevens. It suggests two theoretical approaches from different disciplines brought in conversation with each other to inform the reading of Impunity as artistic expression. The paper puts at its centre the discursive approach to the study of violence and trauma to suggest how the film’s structure and its aesthetics may be connected to research in the field of psychology.     

Dandelions dancing in the snow

Abstract: This article is a translation of the keynote address delivered at the ‘Relire Kawabata au 21e siècle – modernisme et japonisme au-delà des mythes’ conference hosted by the Maison de la culture du Japon (Paris) and Université Paris Diderot-Paris 7 on 17–18 September 2014. It situates Kawabata Yasunari's late unfinished novel Tanpopo (Dandelions) within Japanese modernity and literary history, in particular drawing an array of connections between the work and the history of the rural northern mountain country of Japan.     

A Structural analysis of Macbeth

SUMMARY

Kierkegaard's authorship could be summarized in the following statement: what it means to exist, that is, what it means to become a Christian. The crucial category is den enkelte, the single one, who upon becoming aware of his true self in personal communication with God, reaches the highest possible level of self-realization in interhuman communication.

However, to assume that Kierkegaard merely tried to enforce his Christian perspectives, would be to misunderstand him completely. Kierkegaard's spheres of existence offer an overview of all possible modes of existence by means of which a human being could reach self-realization. His intention was to invoke his readers to choose their own mode of existence and to accept responsibility for their choice.

This article illuminates the communicological relevance of Kierkegaard's spheres of existence by discussing both the views of life characteristic of each sphere and the forms of communication by means of which they are expressed. It is also maintained that a full understanding of the spheres of existence requires a study of Kierkegaard's concept of the self. A brief sketch of Kierkegaard's life is included to highlight his own struggle for self-realization.     

Electoral Competition,the State,and Communal Violence: A Reply

In a review of my 2004 book Votes and Violence,Ashutosh Varshney and Joshua Gubler criticize various aspects of the book and its electoral incentives theory. The implication is that Varshney's own local civic engagement theory provides a superior explanation for communal violence. This article responds to the specific criticisms of my arguments about the role of electoral incentives and state action, or inaction, in leading to communal violence, showing why these are wrong or unimportant. I cite three important recent studies, by scholars working independently of me, who come to the same conclusions I do about the key role of electoral incentives and the importance of the state. I also cite the work of other scholars, based on careful fieldwork, who have questioned Varshney's characterization of the causes of conflict and peace in the cities he discusses in his own 2002 book Ethnic Conflict and Civic Life.     

Invoking Teddy: The Inspiration of John McCain's Foreign Policy

Since John McCain's first aspirations for the presidency became public in 1999, he has often indicated his affinity for Theodore Roosevelt as his role model. Though McCain is not alone in admiring Roosevelt, his 2008 bid for the White House offers an opportunity to observe Roosevelt's legacy, and particularly how that legacy has impacted foreign policy thinking. The central argument of this article is that John McCain's impression of Roosevelt is as a composite of realist and idealist standpoints. This perception of Roosevelt is outlined in McCain's own publications and in his advocacy for foreign policy as a representative, senator, and presidential contender in both 2000 and 2008. John McCain's own style of statecraft is also conducted in full recognition of the legacy of Theodore Roosevelt.     

Suid-Afrikaanse "alternatiewe" rolprente en die Suid-Afrikaanse sosio-politieke werklikheid. 'n Historiese,teoretiese en analitiese verkenning (Deel 1)

SUMMARY

The "alternative" film originated in South Africa because people or groups outside the apartheid establishment were unable to communicate through existing mass media structures, and their own communication channel had to be established.

The key question addressed in this article is whether the "alternative" South African film actually succeeds in making a contribution, on an intercultural level of communication, to the socio-political reality of South African society, and to what extent the film as communication medium succeeds in establishing positive intercultural communication? A study of four films is undertaken, according to Pieter J. Fourie's theoretical model (1983), whereby the content and shaping aspects of film images are examined from a contextual as well as an analytical point of view.

The value of the "alternative" film lies in the fact that the South African reality is seen from the perspective of the "black" or "coloured" person. For many years "whites", on account of their ethnocentric attitude and the absolutization of their values and norms, were never really aware of other race groups' values and norms, and were not interested in how these people experienced reality. In this regard the "alternative" film has a dual function significant to intercultural communication: on the one hand it offers self-expression – an important principle and starting point for intercultural communication – to people outside the apartheid establishment, and on the other hand, it gives whites within this establishment the opportunity to become acquainted with the worlds of other cultural and ideological groups.

If the South African film wants to present a model for reality, it will have to take into account the complexity of multicultural diversity without absolutizing certain people's cultural values and ideological perspectives. Communication should rather take the form of "dialogue".     

Undermining Adversaries: Unipolarity,Threat Perception,and Negative Balancing Strategies after the Cold War

This paper engages the ongoing soft balancing debate by suggesting a new analytical framework for states’ countervailing strategies—a negative balancing model—to explain why states do not form alliances and conduct arms races to balance against power or threats as they previously did. Negative balancing refers to a state's strategies or diplomatic efforts aiming to undermine a rival's power. By contrast, positive balancing means to strengthen a state's own power in world politics. I argue that a state's balancing strategies are shaped by the level of threat perception regarding its rival. The higher the threat perception, the more likely it is for a state to choose positive balancing. The lower the threat perception, the more likely it is for a state to choose negative balancing. I suggest that the hegemon provides security as a public good to the international system in a unipolar world in which the relatively low-threat propensity of the system renders positive balancing strategies incompatible with state interests after the Cold War. Instead, states have employed various negative balancing strategies to undermine each other's power, especially when dealing with us primacy. China's negative balancing strategy against the United States and the us negative balancing strategy against Russia are two case studies that test the validity of the negative balancing model.     

Disquieting growth: urban space in Kawashima Yūzō's film Suzaki Paradise Red Light

This article examines how Japanese postwar cinematic texts manifest and comment upon contemporary political and economic events, and considers the usefulness of cinema for a more complete historical understanding of the period. In particular, it argues for the significance of fūzoku eiga, or ‘films of customs and manners’ by analyzing a representative text of that genre, Kawashima Yūzō's 1956 film Suzaki Paradise Red Light. Although Kawashima's film has been treated as an apolitical melodrama, a close textual analysis reveals it to be a counter-narrative to the success story of postwar economic recovery and growth that the Japanese state sought to promote. Key to this analysis is an examination of the urban space of the Suzaki neighborhood in Tokyo, as depicted in the film. Kawashima's tour of Suzaki addresses the issues of the economic stagnation within the metropolis, uneven development, and the liminal space of muen, or ‘no ties,’ which offers a brief refuge from an increasingly disciplined everyday life.     

The end of literature and the beginning of praxis: Wagō Ryōichi's Pebbles of Poetry

Abstract

On 16 March 2011, shortly after the hydrogen explosion in the third nuclear block, Wagō Ryōichi (1968–), a poet who has lived in Fukushima for decades, started using Twitter as an alternative method for his action poetry. The tweets from his nearly desolate hometown immediately gained public reception, spreading all across the country and beyond, being compiled into an anthology titled Shi no tsubute (Pebbles of poetry). This study examines the flood of words he posted during the critical post-earthquake turmoil, aiming to conceive them as radically redefining (albeit temporarily) the quotidian that has long been institutionalized during the country's recent history. Despite their later publication in book forms, Wagō's tweets initially circulated more like graffiti than printed books, being a more fundamentally contingent form of writing than his previously printed letters. Epitomizing the bio-sociological conditions (or what Karatani Kōjin calls ‘singularities’) arising from the intensified experience immediately following the Fukushima incident, Wagō's scribbles on the internet bear much resemblance to Terayama Shūji's mobilization of street epic in the 1960s–70s, or, more theoretically, Bergson's conception of evolution as multiplicity arising from intense temporality. His graffiti praxis is itself a renewed ethics, sharing the spirit of the-end-of-literature discourses by Karatani and others since the 1980s.     

The EU in the Western Balkans: Enlargement as Empire? A Response to David Chandler

This article constitutes a response to David Chandler and his conception of the European Union's role in the western Balkans as a contemporary form of empire-building which he argues has deeply compromised the process of democratic institution-building in a still fragile region. It analyses his view that the EU enlargement process is entirely asymmetric in design and process and contends that there is ample room for candidate states both to contest EU demands and shape their own paths toward membership. This is entirely consistent with the evidence from the EU's previous enlargement, its most ambitious to date, which saw ten states from Central and Eastern Europe become members in 2004 and 2007. The EU enlargement regime is thus a tried and tested one and constitutes the most successful instrument in the EU's external relations toolkit. But it is now facing a challenge in the western Balkans that is manifestly more difficult than anything encountered in previous accession contexts. In particular, the problem of first order democratisation, extending to the practice of state-building, remains cogent and, in the fallout from the Kosovan declaration of independence all the more important in regional terms.     

Colmar Freiherr von der Goltz and the rebirth of the ottoman empire

For more than three decades Colmar Freiherr von der Goltz played a crucial role in the development of military relations between the German and Ottoman Empires. He trained and advised the Ottoman army, and commanded Ottoman troops in the First World War. He was a firm believer in the possibility of the Ottoman Empire's political and military revival, this belief reflecting his own conservative, militarist ideology. From 1898 onwards he was also a firm advocate of a German‐Ottoman alliance in a future war against Britain, arguing that Ottoman expeditionary forces sent against Egypt and India could deal mortal blows to Britain's world power.     

Henry Kissinger: Realism,Domestic Politics,and the Struggle Against Exceptionalism in American Foreign Policy

Henry Kissinger was the single most controversial diplomat of the 20th century. This article explores Kissinger's approach to the philosophy of realism in international affairs, his role in Vietnam policy making, and his most recent engagement in the debate over the Iraq War. It argues that Kissinger's realism, although philosophically consistent and having roots within his own life's experience, was always tempered by his desire to exercise influence within the American political system. Once in office under Richard Nixon and then Gerald Ford, Kissinger came to recognise how significantly domestic politics shaped American foreign policy. His involvement in the Vietnam War demonstrates this, and one lesson he took from that conflict was the hope that Americans could be persuaded to move away from their convictions about American exceptionalism and recognise the limits of American power.     

Paradigms in South African cinema research: Modernity,the New Africa Movement and beyond

Abstract

The history of theoretical approaches about South African cinema is discussed from the turn of the twentieth century period of the New Africa Movement, through various other theoretical moments, up to the early 1990s. These include conservative cultural theory, liberal humanism, workerist, Althusserian and Gramscian Marxisms. The discussion examines theoretical interventions either promoting or opposing modernity in the work of Thelma Gutsche, Hans Rompel, John Grierson and various Afrikaner cultural organisations during the first half of the twentieth century. Post-1970s cinema theory is critically examined in relation to discursive contestation occurring within both academia and the industry.