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Ethics of incorporation: (Im)possibility of accepting otherness in Kawabata’s 'One Arm'
Get PDFOn touching, an object mediates and equally prevents our contacts with others. But what if one incorporates another's body? Japanese author Kawabata Yasunari, in his ‘One Arm’, describes a peculiar encounter with the other's body: the protagonist replaces his arm with a girl's arm and incorporates it, causing him some spasms, a sense of otherness, and affective as well as repulsive feelings. This replacement of body parts questions the possibility of getting in touch with the other, as well as risky intersections with the other. In considering this (fictional) bodily encounter and the process of being together with another body, I aim to examine the rupture of contact, the (im)possibility of accepting otherness and the ethics of communication in Kawabata, through the phenomenon of incorporation. By examining the under-researched topic of incorporation and touch in Kawabata in dialogue with relevant theories by Jean-Luc Nancy, Emmanuel Levinas and Melanie Klein, this paper aims to advance theorisations of touch and incorporation at the intersection of literature and critical theories
The Departing Body: Creation of the Neutral in-between Sensual Bodies
Get PDFThis paper investigates the Japanese concept of ma/aida, the space in-between, discussed by French author Roland Barthes as the Neutral, not signifying the medium of the opposite poles but the bare existence. It first analyzes how the discourse of contiguous relationships and the space between others has functioned in modern and postwar Japan, and further employs the works of the Japanese female writer Matsuura Rieko as counterexamples, with particular emphasis on the space between the sensual and the sexual. It provides a fresh view on the conceptions of space and indirectness between and within the body
Co-sleeping: engaging with the commodified dozing body in Kawabata, Yoshimoto, and Yamazaki
Get PDFThis paper examines the shifting concept of the body in contemporary Japan through the phenomenon of “co-sleeping” (soine) services. It takes as examples Kawabata Yasunari’s 1961 novel House of the Sleeping Beauties (HSB), Yoshimoto Banana’s 1989 novel Asleep, and Yamazaki Sayaka’s 2008-2010 manga Shimashima. In HSB, the male protagonist sleeps together with girls who are unconscious, knocked out by sleeping pills, and touches them. He can only realize contact with sleeping girls without face-to-face encounters, posing the reader questions such as to what extent one can share one’s corporeality with another in sleeping, what kind of intimacy, desire, and love is involved in payable co-sleeping services, and what it means to engage with the sleeping otherness. Simon Williams and Eyal Ben-Ari have examined co-sleeping as a form of intimate communication. Yet, co-sleeping is a commercial service in HSB, Asleep, and in Shimashima, where the customer pays for sharing bodily warmth and touching another’s (almost unreachable) existence. Having witnessed the recent emergence of actual co-sleeping services in Tokyo and New York, this paper aims to advance literary research on the topic of co-sleeping services and explore the emerging concept of the commercialized sleeping body in contemporary Japanese societ
Falling Dance: Hijikata’s Recomposition of the Body via Bacon
Get PDFThe themes of transformation, indefinite form, and disintegration haunt the work of many post-World War II artists, who had witnessed the animality of human beings as well as the depths to which human beings can fall in wartime. This paper looks at falling as an artistic and phenomenological practice of the body in the work of the Japanese butoh dancer Tatsumi Hijikata, whose notations refer in places to the work of the Irish-born British painter Francis Bacon and offer new bodily lexicons with which to graph the movement of falling. Drawing explicitly on Bacon and using cross-media collage to produce movement, a body in Hijikata could be deformed or made formless onto the ground. In falling, inhabiting and simultaneously vacating oneself, the body makes contact with a surface and leaves or exteriorizes a graphic mark, visual, and performative, in its wake. This attention to falling was part of an ongoing process at the rise of phenomenological boom in postwar Japan by which artists attempted to understand and recompose the kind of body that could inhabit the nuclear age
The touchable and the untouchable: an investigation of touch in modern Japanese literature
Get PDFThis thesis examines how the experience of touch is depicted in modern/contemporary Japanese literature and culture. Employing touch-related 20th century French thought (Merleau-Ponty, Derrida, Nancy) and psychoanalytic theory (Klein, Anzieu, Kimura), it discusses how the representations of touch illuminate various aspects of human existence, specifically: the mediated nature of touch, the process of the bodily encounters, the formation of subject identity, sexual differences, and the way memories of touch depicted in literature affect our sense of temporality. Touch is a particularly interesting way of approaching Japanese literature because touching between people (apart from mother and child, called skinship) has been considerably repressed at least until after WW2, due to the relative absence of public practices of touch, authors’ aesthetic choices and censorship. Opposing this tendency, female authors born postwar write freely about touch. In comparison to Judeo-Christian cultures, Japanese culture has historically not been open to tactile communication, nor is explicit articulation of internal experience, as in psychoanalysis, particularly prominent. Japanese literary characters are thus especially self-conscious about touch. Following a theoretical and historical overview regarding touch and contact in the Introduction, Chapter 1 discusses different ways of mediating touch in the works of Yoshiyuki Junnosuke, Tanizaki Jun’ichirō, and Abe Kōbō. Chapter 2 argues how high levels of mediation affect the manners of engaging in direct encounters with others in Yoshiyuki, Kawabata Yasunari, and Matsuura Rieko. Chapter 3 discusses the temporality of tactile memories in Yoshiyuki, Kawabata, and Ogawa Yoko. Reflecting on such a complicated portrayal of touch in Japanese culture will help fill a gap in the existing scholarship regarding touch in literature. By critically examining the relationship between theories and literature in the East and West, this thesis also significantly contributes to the field of comparative literature and cultural studies as an example of cross-cultural research on touch
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