Thinking activity On "An Artist Of The Floating World"
Hello readers,
Here I'm writing this blog about the novel 'An Artist Of The Floating World' by Kazuo Ishiguro in which I've been pondering upon some points. So let's begin…
Introduction:
Kazuo Ishiguro
Sir Kazuo Ishiguro OBE FRSA FRSL is a British novelist, screenwriter, musician, and short-story writer. He was born in Nagasaki, Japan, and moved to Britain in 1960 when he was five. Ishiguro is one of the most celebrated contemporary fiction authors in English.
Am Artist Of The Floating World :
An Artist of the Floating World discusses several themes through the memories of the narrator, Masuji Ono. The analysis of these themes is facilitated through their transcendence of time, allowing the audience's rumination on Ono's experiences, permitting them to judge the narrative objectively.
The very first point in which I've to discuss is that…
Lantern appears 34 times in the novel. Even on the cover page , the image of the lanterns is displayed . What is the significance of lanterns in the novel ?
In the novel Lanterns are associated with Ono’s teacher Mori-san, who includes a lantern in each of his paintings and dedicates himself to trying to capture the look of lantern light. For Mori-san, the flickering, easily extinguished quality of lantern light symbolizes the transience of beauty and the importance of giving careful attention to small moments and details in the physical world. And this is the symbol in the novel Lanterns represent the fleeting beauty and warmth of nightlife as well as the transience of the traditional way of life in Japan, which vanishes after the war.
Lanterns are the old-fashioned, welcoming source of soft light at Mrs. Kawakami's. Within their spheres of light Masuji Ono is embraced. As a symbol of the floating world, lanterns often appear in Mori-san's work, either within the picture or as the implied light source for the subject in the painting.
The second point is that…
Write about 'Masuji Ono as an unreliable narrator' .
Masuji Ono is the narrator and protagonist of the novel he represents as an unreliable characters in the novel. We are introduced to a retired artist of great acclaim, Masuji Ono. Ono lives with his youngest daughter Noriko, and his attempts to secure a good match for her is a central theme. In the past, Noriko’s engagement had been called off. While Ono likes to believe that his family was more powerful than the boy’s, Noriko’s often belligerent behaviour suggests the unsuccessful engagement has more to do with Ono's past. His older daughter Setsuko asks Ono to meet his acquaintances and rectify his errors should Noriko’s prospects inquire about the family’s history. This simple task is the starting point of his recollections, opening twisted alleys of memory.
Ono is one of the many traitors who led the country awry with grand plans of Japanese Imperialism that caused only pain and loss. Ono himself lost his son to the Manchurian War and his wife to a freak raid. The reader might assume these topics to be of particular importance to him. Still, Ono avoids speaking about any issue that exposes his emotional vulnerability and delves too much into his past affairs. Mentions of these deaths come and go, as little remarks stuffed into the larger scheme.
Ono also feels that the younger generation’s bitterness towards his generation and desire to sweep away all the old traditions is too extreme a response to the devastation of the war. So , our narrator and protagonist of the novel represents as an unreliable character of the novel.
The 3rd point is a very interesting point…
Debate on the uses of Art / Artist( Five perspectives: 1. Art for the sake of Art - aesthetic delight, 2. Art for earning money / Business purpose, 3. Art For Nationalism / Imperialism - Art for the propaganda of government power, 4. Art for the poor / Marxism , and 5. No need of art and artist (Masuji's father's approach)
Art for the sake of art - aesthetic delight
In the novel the this use of art "art-for-art’s-sake" milieu of Moriyama, which focuses on the ephemerally sensual “floating world” of the traditional Japanese pleasure district. Moriyama, influenced by European Impressionism just as Impressionism was influenced by Japanese prints, represents a convergence of East and West in the nation-nullifying utopian space of the painting, a space whose evanescence is the guarantee of its authority.
Art for earning money/Business purpose
In the novel the character of Matsuda believes that artists are failing to address the social and political problems around them, and he mocks Ono’s naïve attitude towards the world. Ono comes to work closely with Matsuda and to have great respect for him as an independent thinker who tries to achieve something meaningful through his work. After the war, Matsuda is in poor health and confined to his home. He seems regretful that he never married and has no heirs and says that his life’s work amounted to little. Ono, however, believes that Matsuda doesn’t truly believe this.
Art For Nationalism / Imperialism - Art for the propaganda of government power
This is the use of art that is very highly described in the novel An Artist of the Floating World, as a case study. This popular representation of Imperial Japan features a non-linear narrative of a propagandist’s life, presenting scenes from before, during, and after World War II. This allows Ishiguro to juxtapose two stances on Japanese identity: the pre-war militarist stance and the post-war pro-Western stance. The militarist stance obscures the process of empire-building, preferring the narrative of a great battle against the European powers, while the pro-Western stance is narrowly nationalistic, with no consideration for Japan’s neighbouring countries.
Art for the poor / Marxism
As we have discussed in our classroom that this is the image of the three poor boys , this is the image about the voice of the poor , so in this context we can say that we are also used as a voice for poor people.
No need of art and artist (Masuji's father's approach)
In this context Masuji Ono’s early memories of home life in his small village involve exclusion from the formal reception room, that was barred to him as a child until he was 12 years old. At that age, he was required to go to weekly “business meetings” with his father and was miserable because he did not understand what his father was talking about. He wanted to be an artist, but his father saw that as the path to living “in squalor and poverty” and burned Ono’s paintings ceremonially when he was He referred to the wandering priest’s diagnosis of “a flaw in [Ono’s] nature. A weak streak that would give him a tendency towards slothfulness and deceit”. However, the impact of his father’s action was to kindle Ono’s ambition to be an artist. So , his father burnt all his paintings. Because for his father art is not a good thing and he did not want to making his son an artist.
The last point which I've to discuss is …
5. What is the relevance of this novel is our times ?
During Japan's Edo period the phrase "the floating world" (ukiyo) evoked an imagined universe of wit, stylishness, and extravagance with overtones of naughtiness, hedonism, and transgression. Implicit was a contrast to the humdrum of everyday obligation.
The best things, he always used to say, are put together of a night and vanish with the morning. What people call the floating world, Ono, was a world Gisaburo knew how to value. When people are getting poorer, and children are growing more hungry and sick all around you, it is simply not enough for an artist to hide away somewhere, perfecting pictures of courtesans. When you are young, there are many things which appear dull and lifeless. But as you get older, you will find these are the very things that are most important to you. So, this way the novel is relevant to today's situation or context.
Thank you…
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