Kawabata and cinema: the ambivalence of knowledge,medium, and influence

Abstract

Many researchers have considered the involvement of Kawabata Yasunari in cinema and the medium's possible influence on his literature. Such approaches, however, tend to assume a definition of the motion pictures as visuality or montage that then influences Kawabata instead of first considering Kawabata's own conception of cinema, his own film theory. By analyzing his writings on film, including his film criticism, short stories involving cinema, and his involvement in the film A Page of Madness, this paper outlines Kawabata's conception of cinema and argues that he developed a portrait of cinema that posed it as a challenge to identity, perception and knowledge itself. Often associated with the female body, the movies became to Kawabata both an object of fascination and a threat, something ultimately to be controlled through literature and the literary subject. What influenced his literature was then perhaps this perception of cinema as posing an epistemic crisis. It is his ambivalence towards this challenge that can serve as a key for elaborating on Kawabata's complicated location within prewar 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.     

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).     

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.     

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.     

The power of Trump-speak: populist crisis narratives and ontological security

Abstract

For most observers, the election of Donald Trump as the 45th president of the United States (US) came as a shock. This has been widely recast as the culmination of the American public’s long-standing dissatisfaction with the political elite and deep-seated frustrations with broader socio-economic conditions. We argue that the Trump campaign’s success also stemmed from its effective use of an emotionally charged, anti-establishment crisis narrative. With insights from political psychology, we examine the socio-linguistic mechanisms that underlie the effectiveness of ‘Trump-speak’ through both quantitative and qualitative content analysis of Trump’s communications toolkit during the 2016?US presidential election campaign. We show that his leadership legitimation claims rest significantly upon ‘crisis talk’ that puts his audience in a loss frame with nothing to lose and explain why ‘crisis talk’ impacts on political behaviour. As we demonstrate, the crisis stories that political agents tell simultaneously instil ontological insecurity among the American public and serve to transform their anxiety into confidence that the narrator’s policy agendas are the route back to ‘normality’. Through these rhetorical mechanisms, the Trump campaign manipulated individuals’ ontological (in)security as a tool in the politics of reassurance at the broader, societal level.     

Cyberspace,simulation, artificial intelligence,affectionate machines and being human

Abstract

This article focuses on the question whether the technologically enabled advent of ‘virtual reality’ or ‘cyberspace’ has a significant impact on human experience of the world. Gilbert Germain's work on Virilio and Baudrillard gives greater insight in this regard, specifically regarding cyberspace as the new ‘frontier’, and focuses on the alienating effects of cyberspace regarding the human life-world. Turkle's recent work regarding robotics similarly points to a fundamental shift in human attitudes towards ‘embodied’ artificial intelligence, especially concerning its capacity for affectivity, which further marks a turning away from the complexity of human relationships in favour of supposedly uncomplicated ‘machine relationships’. Derrida enables one to better understand the changing relation between humans and machines in terms of the reconfiguration of human subjectivity. Together with Turkle's work in this domain, it points to a surprising ‘reconfiguration’ of conceptions regarding being human. Finally, Feenberg's retrospective on the fraught relations between humans and technology, as reflected in various fictional and theoretical works, as well as social developments, provides a suitable conclusion, given his affirmative remarks on the prospects of human autonomy in relation to the Internet.     

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.     

‘Local is lekker’: Nation,narration and the sABC's Afrikaans programmes

Abstract

This article provides an exploration of the role of the SABC's Afrikaans language programmes in contemporary South African constructions of national identity. It examines the programmes’ engagement with the construction of (a) national identity by addressing the SABC's mandated obligation towards nation building, and exploring how the broadcaster's Afrikaans programmes are positioned in this regard. The article suggests that the SABC's task to ‘narrate the nation’ is complicated not only by the theoretical dilemmas faced by the terms ‘nation’ and ‘nation building’, but also by the broadcaster's historical ties to the apartheid government. This matter is further complicated for the Afrikaans-language programmes on SABC, given the language's binary position as both ‘unifier’ and ‘oppressor’.     

Who is (South) African? A re-reading of Thabo Mbeki's ‘I am an African’ speech in the context of the banned (later unbanned) Nando's ‘diversity’ television commercial

Abstract

In 2012 flame-grilled chicken company, Nando's, released a 52-second advert showing people of various races and ethnicities vaporising into thin air, one after the other, leaving a lone San Bushman wearing a xai who declares: ‘I'm not going anywhere. You f*#@ng found us here.’ Broadcasters SABC, DStv and etv initially banned the advert, citing fears of a xenophobic backlash. In 1996, former South African president, Thabo Mbeki, who was deputy president at the time, delivered what has become known as the ‘I am an African’ speech at the adoption of the South Africa Constitution Bill. In the speech Mbeki appears to codify ‘Africanness’ into a consciousness not just of history, but a shared history. The conceptual reach of his speech seems to imply that everyone who may share South Africa's history is somehow South African and African. This article argues that the Mbeki speech and the Nando's advert, taken together, draw attention to the simultaneous richness and poverty of citizenship in South Africa, and the potential benefits and contradictions of claiming citizenship in the sense preferred by the two texts. The context is supplied by a sampling of 22 randomly selected online comments centering on the censored advert.     

Modernism,gender and consumer spectacle in 1920s’ Tokyo

A lot has been written about how, in the first decades of the twentieth century, cinema validated new perceptual structures and how these affected literary narrative. But the department store was also a vital part of the mobile spectacle of modernity. Ginza and its department stores provided experiences of urban flâneuring and visual consumption that would have important effects on gender and subjectivity. This essay focuses on three short stories published between 1922 and 1931, all set in department stores or on the Ginza: Tanizaki Jun'ichirō’s ‘Aoi hana’ (The Blue Flower, 1922), Itō Sei's ‘M hyakkaten’ (The M Department Store, 1931) and Yokomitsu Riichi's ‘Nanakai no undō’ (Seven Floors of Exercise, 1927). The stories share a radically experimental modernist form: fragmented interior monologues, montage-like juxtapositions, abrupt shifts of narrative perspective. They are also connected in their preoccupation with looking, with the drama of seeing and being seen. My analysis traces how the domain of vision becomes a place of struggle over subjectivity, how gendered visual hierarchies are undermined and at least temporarily reversed.     

Eisenhower's disarmament dilemma: From chance for peace to open skies proposal

President Eisenhower's image as a promoter of ‘peace and nuclear disarmament’ was established through speeches he made such as ‘Atoms for Peace’ (December 1953) and ‘Open Skies’ proposal (July 1955). However, Eisenhower's approach to the subject cannot be grasped without an understanding of his attitude towards the relationship between arms, war and disarmament. As he saw it, not only would the mere existence of nuclear weapons not trigger a war, they were actually the best guarantee against the eruption of a global conflagration. The real threat to world security was the repressive, closed, totalitarian and expansionist Soviet regime. War could be prevented only by a dramatic change in the competing ‐ and threatening ‐ ideology and social structure embedded in the Soviet system. Until then, the existence of nuclear weapons would ensure the free world's safety.     

Ukraine's relations with the West since the Orange Revolution

Abstract

This article argues that many of Ukraine's problems are long-standing and remain unresolved because government policies are virtual (i.e. do not conform to official documents or statements) thereby reducing the effectiveness of the West's (here understood primarily as NATO and the EU) engagement with Ukraine and the ability of Kyiv to pursue its declared foreign policy objectives. The article discusses Ukraine's relations with the West through cycles of Disinterest, Partnership and Disillusionment. Under Presidents Leonid Kravchuk and Leonid Kuchma three cycles equated to Kravchuk's presidency (Disinterest, 1991–94), Kuchma's first term (Partnership, 1994–99) and second term (Disillusionment, 2000–04). Three cycles partially repeated itself during Viktor Yushchenko's presidency with Partnership (2005–06) after the Orange Revolution followed by Disillusionment (2007–09), often described as ‘Ukraine fatigue’. US Disinterest in Ukraine from 2009 is an outgrowth of the Barrack Obama administrations ‘re-set’ policies with Russia resembling the ‘Russia-first’ policies of the early 1990s George W. Bush administration. US Disinterest covers the late Yushchenko era and continued into the Yanukovych presidency. The West held out a hope of Partnership for Viktor Yanukovych following his February 2010 election after taking at face value his claim of becoming a more democratic leader, compared with during the 2004 elections, coupled with an expectation he would bring political stability to Ukraine. Partnership quickly evaporated into Disillusionment the following year.     

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.     

Press-party parallelism: The Star's editorial position on the 1922 Miner's Strike

SUMMARY

Against the background of a theory about press-party parallelism the author of this article argues that the Johannesburg based newspaper, THE STAR, supported the use of political violence when this newspaper supported the government of the day. As an example he illustrates how THE STAR vigorously defended the strong steps taken by the Smuts Government against revolutionaries in 1922. This was at a time when THE STAR was associated with colonial control and mining interests. During the mine worker strikes in 1913, 1914 and 1922 THE STAR supported the government's use of military measures to suppress revolt, and identified ‘communists’ and ‘agitators’ as the primary force behind the strikes. Today the same newspaper opposes the government's arguments for strong measures against revolutionaries. According to the author the implications of his historical evidence are disquieting: they suggest that on occasion newspapers are so tightly linked to a political party and other interests that truth, balance and fairness are of secondary interest.     

Pseudo-communication and the return of the sophist: Thank you for smoking,at first sight

Abstract

The present era is one of pseudo-communication and overwhelming relativism, where, at best, the ability to persuade one's opponents or a potential audience of the ‘rightness’ (as opposed to the communicable ‘truth’) of one's position, is all important. A closer look at the recent film, Thank you for smoking, shows it to be a stalking horse for precisely this kind of pseudo-communication and relativism, and an all the more successful one in light of its rhetorical sophistication and entertainment value. However, this is no reason to give up on the old-fashioned notion of communication (or ‘truth’), even if one has to reject the illusion – so long entertained by Western philosophy – of unambiguously clear communication of the ‘truth’ in any univocal or absolute sense. Through an analysis of the film in question an attempt is made here to demonstrate that it is a supremely persuasive piece of sophistry in the sense that Plato gave to the term, but that today (given what one has learned from the post-structuralist thinkers), instead of rejecting it on this basis, one should appropriate its lessons in rhetoric and turn it against itself, showing how a complex notion of communication and ‘truth’ of a certain kind may be uncovered in its interstitial rhetorical spaces. This is of particular importance to South Africa, given the fact that ‘persuasive communication’ forms part of curricula in communication studies. The paper aims to show how short sighted the unqualified emphasis on ‘persuasion’ is, especially in South Africa.     

The future of the United States as a European power: The case of NATO enlargement

Abstract

European Union enlargement has left Russia on the margins of European political processes and led to widespread suspicion in the Moscow foreign policy establishment of European motives. This has resulted in, first, increasing resistance to the imposition of European norms and, second, a more assertive policy, particularly in the EU's and Russia's ‘overlapping neighbourhoods’. Although Moscow is likely to continue the strategy of engagement initiated under Putin, Brussels must radically rethink the nature and extent of Russia's ‘Europeanisation’. Russia's drive for modernisation will coexist with the strengthening of sovereignty and the power of the state, seen by the Putin administration as key to external and internal security. The EU will have to limit its ambition and work within this ‘window’—wider or narrower depending on state of play—of policy possibilities.     

The EU as a Global Actor? EU Policy Towards Iran

Abstract

This paper explores EU policy towards Iran to challenge the common implicit or explicit notion that the EU's ‘actorness’ in the international system rests primarily, or solely, on its Pillar I external relations. Utilising criteria developed to examine the ‘actorness’ of the EU, the article explores this policy area to demonstrate that the EU's ‘actorness’ resulted not only from the ‘Community’ aspects of foreign policy, but also from its Common Foreign and Security Policy (CFSP).