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Milania and Ailsin paragraph:

'Literature forces us to ask questions and look for answers. Even if those answers do not exist.'

Enduring narratives describe collective experiences, the reactions to which create a metonymy for the wider human condition upon which readers can manifest their own reflections. This is emulated through experiences of cataclysmic events, which shift collective generational interpretations of past values and actions. Kazuo Ishiguro’s Kunstroman ‘An Artist of the Floating’ (1986), draws upon the cultural zeitgeist of post-WWII Japan, demonstrating the social shift from imperialism to democracy and capitalism under the American Occupation, thus representing drastic attitude changes towards the past. The realist novel examines the Postmodern temperament through its exploration of  the popular understandings and narratives of historical events, such as WW2, depicting “a world in which any idea of truth is undermined by the shifting nature of memory”. This is explored in the juxtaposition of “Suichi believes it's better he likes cowboys than that he idolises people like Miyamoto Musashi. Suichi thinks the American heroes are the better models for children now”, which contrasts the role models of pre- and post-bomb Japan, exposing the new generation’s condemnation of not only past imperial values but also each individual that conforms to them, as a result of the collective traumas of World War 2. Through the accusatory tone of “Surely, it’s only right they should acknowledge their responsibility. It’s a cowardice that these men refuse to admit to their mistakes”, Ishiguro creates a sense of irony as well as generational estrangement, as the hypocrisy of Ono and Matsuda highlights their attitudes towards the new generation, whose cultural shift, resulting from the reconsideration of WW2 events, denotes not only a modification of the previous collective consciousness but also a departure from old, traditional values. Further, the condescending tone embedded in Noriko’s rhetorical question, “what have you been doing all day, Father? Just moping around as usual” reflects the changing gender dynamics arising in Japan after the atomic bomb, as women began to challenge traditional gender roles and assert their autonomy. Noriko's statement reflects a more assertive and independent attitude, indicative of the changing values of post-World War II Japan.  The lexical choice of the Western capitalist word ‘waste’, “Ichiro had used up the first four or five sheets somewhat wastefully…the sketches- of trams and trains- had each been abandoned at a very early stage” implies the generational separation between Ono and his grandson Ichiro, in that the new generation devalue nature and resources due to Americanisation. As such, through the deviation of contemporary cultural values from traditional imperialism, Kazuo Ishiguro inspires responders to reflect upon their own experiences of societal fluctuations, provoking individuals to “ask questions and look for answers” within literature.

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Rachael and Alessia :)

In what ways does this excerpt reflect the concerns and aesthetic qualities of Ishiguro's novel

Postcolonial texts often explore the significance of cultural impermanence and the beauty that lies in an ideology’s vulnerability to change. Kazuo Ishiguro’s postmodern novel ‘An Artist of the Floating World’ reveals the internal conflict that emerges from westernisation and the loss of traditional Japanese aesthetics. The reflective tone used by Ono in “I have still in my possession a painting by the Tortoise” draws on Ishiguro’s alignment of the Tortoise with traditional Japanese art, exposing how the painting acts as a physical manifestation of the Floating World for Ono, and is one of the few connections he still possesses to his past. Ono’s recollection, “But then to be fair, I could not recall any colleague who could paint a self portrait with absolute honesty.” highlights the dichotomy between the traditional, honest style of Japanese art that the Tortoise demonstrates, and the superficiality of Master Takeada’s studio. Perhaps this is why the Tortoise’s portrait is so admired by Ono, because the truth that is captured is a rarity in a world infiltrated by Western interpretations. The ironic statement by Ono,“The personality represented rarely comes near the truth as others would see it” captures the essence of the novel, that truth is not merely a measure of physical accuracy, or a “mirror reflection”, instead it can be attributed to a deeper understanding of one’s place in the world. This extract underscores Ono’s fixation on his past, highlighting his unwillingness to accept the declining value of traditional Japanese culture in a world of increasing western infiltration. His unwavering concern regarding his art is a reflection of his internal struggle of navigating his place in a world that shares little to no resemblance to the past he has interwoven his identity into. Thus, the concern of wavering cultural impermanence in a post- war society reveals the complicated nature of truth and the value of traditional aesthetics as part of one's personal identity.

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Joey and Ria

Strong prose fiction creates alternate worlds that mirror ours in order to reveal hard truths. To what extent does the above statement relate to your understanding of your prescribed text. In your response, make detailed reference to your prescribed novel.

'Postmodern texts create alternate worlds that parallel the difficult truths that remind one of the deep trauma that resides through exploring the non-linear contexts of the changing landscapes of society.'

'Hard truths within postcolonial novels are extremely effective in mirroring reality by generating events reflected in the cultural changes evident through generational differences.'

'Alternate world created by strong prose fiction, relays changes that exist within society, the generational shifting values evident through symbolism.'

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1) Unreliable narrators, in pursuit of an affirmed superiority of their ego, seek comfort from stagnated values that prize their constructed identity, but ultimately invite conflict from the modern world which demands a nascent and objective existence.

2) Postmodern literature constructs uncertain narrative perspectives to examine the struggle of the individual to re-affirm their identity and old values  in a transient world which rejects the past.

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'Literature forces us to ask questions and look for answers. Even if those answers do not exist.'

To what extent is this true?

POINT 1: As a result of a shifting cultural zeitgeist, an individual is often provoked to reconsider and reflect upon their past, reshaping their sense of self...

Individuals can be apprehensive to reflect honestly about their past actions and their identity in a changed cultural environment.

POINT 2: Cataclysmic events shift collective generational interpretations of past values and actions.

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Postmodern texts explore the disparities between traditional values adopted by the old generation as compared to the influence of Western cultures into the new generation to uphold personal values of  patriotism.

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TO WHAT EXTENT IS THE NOVEL A PRESENTATION OF AN INTERCONNECTED WORLD? - Diyoni S. and Isabella M.

1. The essence of interconnected world is presented through the culmination of generational differences with the context of a postmodern Japanese society.

2. Post-modern texts may struggle to present an interconnected world through presenting multiple perspectives by emphasising generational differences.

Paragraph:

Postmodern texts may struggle to present an interconnected world through presenting multiple perspectives by emphasising generational differences. Kazuo Ishiguro’s postmodern novel, An Artist of the Floating World (1986), presents an interconnected world to a limited extent as he explores opposing perspectives on cultural values of honour and war, epitomised within generational differences. Ishiguro utilises his post-war lens to examine the legacy of Japan’s loss in war, and the subsequent displacement within society due to the saturation of Western cultural values on Japanese culture. The influence of Western culture on Japan is highlighted through Ono’s frustrated tone in, “‘How did you learn to play cowboys, Ichiro?’”, emphasising Ono’s upset at the Western infiltration of power, representing disparity between generations. The shift to new values towards war and honour is evident within the juxtaposition between the lexical choice of ‘waste’ and ‘bravery’ in, “‘Yes. It’s terrible to think of the waste. But Kenji, like many others, died very bravely’”. Consequently, this juxtaposition of views establishes generational conflict regarding values of war and its influence on honour, with the notion of ‘waster’ referencing Western consumerist linguistics. Furthermore, Ono’s complacency in the senseless death during WWII due to his role as a propaganda artist is illustrated in the emotive tension stemming from Suichi’s dialogue, “‘Afraid to show themselves for what they are, to admit their responsibility’”, highlighting Ono’s self-deception regarding his status as a propaganda artists and the associated shame following the loss of war. The inability to accept changing societal values is evident within Ono’s confessional tone in, “These days I see it all around me; something has changed in the character of the younger generation in a way I do not fully understand…”, depicting his disenfranchisement with modern values of dishonourable nature of participation in war and the changing social and political landscape of Japan. Thus, Ishiguro presents an interconnected world to a limited extent as he exhibits opposing perspectives regarding values of honour and war, as exemplified in generational differences.

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Gabby and Ashwika

How has your study of An Artist of the Floating World altered and expanded your understanding of tradition?

Cultural changes and values

Intergenerational

East vs West

1. Postmodern texts explore the intergenerational development of tradition to foster a reflection on the past due to cultural changes.

Ono’s lack of reflection

Western influence

2. Postcolonial texts reveal individual perspectives in highlighting the evolution of culture whilst attempting to maintain tradition over generations.

Ono’s stagnation in past traditions/values

Ichiro and Ono’s daughter the generational differences

Paragraph:

Postcolonial texts reveal individual perspectives to highlight the evolution of culture whilst attempting to maintain tradition over generations. Kazu Ishiguro successfully explores ideas of changing values and traditions over generations in his novel, “An Artist of the Floating World” (1986) through the protagonist, Ono. Ishiguro delves into the complexities of Ono’s relationship with others and society in an ever-changing world, inviting readers to grapple with the nuances of tradition and values. Through Ono’s stagnation in past traditions and values, Ishiguro highlights his resistance to change, in the recurring motif of the Bridge of Hesitation as he “Stepped up onto the Bridge of Hesitation and looked around''  and he contemplates the past and his attachment to the city pre-WWII, revealing his struggle to accept the evolving Japanese society post WWII. The nature of changing values is further represented in the relationship between Ono and Ichiro, as Ono teaches him about drinking in the dialogue ‘“Oji, what happens if women drink sake?” “Hmm. There’s no telling. Women aren’t as strong as we men are, Ichiro. Sake’s mainly for the men.”’. Ono's didactic tone and the authoritative manner exemplifies the prevalence of cultural and gender biases in society. Ono’s patriarchal response, of women being inherently weaker than men displays the Japanese traditional values of gender and his attempt to integrate this ideology in the new generation. Furthermore, Ishiguro illustrates changing traditions and values through the generational differences in Ono’s relationships with Ichiro and his daughters. Ono attempts to correct Ichiros table manners, in the contrasting dialogue, ‘“Ichiro,” I said, “I’m not sure that’s such good manners.” But my grandson continued putting more spinach into his mouth, all the time chewing vigorously.” Ono's concern reflects the older generation's adherence to traditional values, while Ichiro's disregard signifies the younger generation's shift towards more relaxed, Western-influenced norms. This highlights the generational clash in attitudes towards respect and tradition, further encapsulated in the contrast between Ichiro’s bad manners and Setsuko’s respect towards Ono.  Setsuoko’s respect in the repetition of “forgive me” in “Forgive me, but from what Noriko said just a moment ago, …. Then again said; ‘forgive me '”, revealing her high regard towards her father contrasted to Ichiro’s relaxed manners.  Overall, through Ono’s relationships, Kazu Ishiguro delves into the complexities of maintaining traditions and values across generations while exploring the cultural changes within society.

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In what ways does this excerpt reflect the concerns and aesthetic qualities of Ishiguro's novel?

Postmodern texts hold the capacity to reveal the aesthetic beauty of culture and art, through the loss of tradition at the hands of westernisation.

Postcolonial texts reveal the concerns and aesthetics of their subject matter

Postcolonial texts often explore the significance of cultural impermanence and the beauty that lies in an ideology’s vulnerability to change.

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Thesis Point Activity