mod b Flashcards
major theme
The essence of responsibility is interpreted through the vagaries of an imperfect mind and the fallibility of memory, demonstrating an individual need to manipulate narratives reflecting negatively on their character that demands audiences to critically discern the truth themselves.
Kazuo Ishiguro’s postmodern An Artist of the Floating World incorporates unified non-linear storytelling and inconsistent behaviour to redefine the change during post-WW2 Japan.
appreciation
Therefore, Ishiguro invites responders to critically engage with the inconsistencies of the mind and the fallibility of memory to create judgements based on their own perceptions of the text.
connection to AAFW
The nuances of guilt present changes in accountability surrounding Ono’s role as a propaganda artist in WW2 and his justifications for his actions, eventually alienating his pre-war nationalist values from the post-war progressive attitudes that mime the conservative and progressive clash during Britain’s Thatcherism.
The industrialisation of the pleasure district is used to display Ono’s admiration for power and dominance and it’s notions towards tradition, verging on the lines of ostensible dogma.
Talking at the Migi-Hidari
emboldens the imperfections of the mind through the non-linear storytelling demonstrating pride before Ono has to face his contextual guilt.
As Ono “usually ignored” younger generations asking for direction as an artist
- self-centred
- positive impact on his community, ultimately sharing “for them”
“experience a warm glow of satisfaction”
- ironically juxtaposes the traditional patriotism of Japan pre-WW2 that is group-oriented
- implements distrust in Ono, despite being forced to trust the narrative that only illuminates his perspective
Contrast in Values within Noriko’s Miai
Later questioning “you find it all a great waste?”, Ishiguro emboldens Ono’s traditionality, alienating him from modern audience’s as he addresses the Miyake family during Noriko’s miai.
- his attempt to justify his sociopolitical context as a propaganda artist
- his conversation towards to suicide delineates from the typically sensitive formalities of death and pride as of post-WW2 in recognition of the poor choice war was for the Japan personally and socially
- Ono acts in accordance of what is best for Ono
Having “no shame” fighting for Japan,
- Ono further polarises his incompatibility among a landscape of conservative and progressive thought
- In the social aspect of a Miai, criticisms towards either party hurt the opportunity of marriage
- protesting tone reinforces this egotism
- creating a negative interpretation of this conversation, the relationship between fiction and reality as constructed by Ono discounts the objectivity of his perspective
Idolising Akira Sugimura
In An Artist, Ono’s accountability for the changes to the pleasure district alters depending on the sources of power and dominance that he values, staying inconsistent to his responsibility.
As Ono “couldn’t remember what else [Akira Sugimura] planned” he demonstrates blind faith in an idol of his, indicating his prejudice towards an older generation pre-WW2.
Juxtaposed with his “no mistaking the sweeping ambition of the scheme”, he unreliably values Sugimura’s intentions, connoting to the relationships built off of trust during a time of pre-WW2 patriotism, that of which are different within post-WW2 relationships.
- The oxymoronic quality depicts a narrow-minded narrative voice that values their preconceptions of traditional society.
Evaluating Conservative Values
As Ono “for one never saw things to clearly”
- he provides an evaluative response at the end of his narrative, providing nuance to his prior judgements as they change over time
- narrative is inconsistent
Suggesting “a narrow artist’s perspective you may say”, Ono
- demonstrates progression in character, finding some accountability despite the stronghold of his traditional values consistently throughout the text.
As “their kind will never know the happiness I felt that day”
- he alters his alienation from older and younger generations and establishes his own sense of control over their relationship
- His joy of tradition embeds his conservative perspective despite an acknowledgement of his flaws
- these presents principles of his character that correlate to the nature of dogmatic tradition during 1980’s Thatcherism that presents an ostensible recognition of nationalism that is inconvertibly “correct”
- this invites responders to develop an understanding of the textual integrity of Ono’s consistently conservative values and create judgements within Ishiguro’s purposeful construction of a flawed narrative
Conversation on Suicide at Noriko’s Miai
Ono sharing “your country is at war” contradicts this patriotic group value, as he addresses it in an accusatory tone to the group that he had just embraced.
- blending first and second person in his narration
- Ono attempts to maintain his hubris as a means of subverting the disconnect between conservative and progressive thought
- In doing so, he sets up a lack of accountability through his flawed self-analysis and recollection of tonally abrasive conversations, focussing on what effects him and not what he effects
International Writer
Naturally alienated between pre WW2 nationalism and post WW2 regret enforces conversation on the limitations of the mind in fictionalising his narrative whereby Ishiguro’s identity as a social worker during a period of divisive economic policies propels him to fictionalise social landscapes, thus enforcing his purpose as an “international writer”
- anti-welfare state acts as a basis for his integration of dogmatic tradition in An Artist
