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| 1 |
ID:
120580
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| Publication |
2013.
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| Summary/Abstract |
This article analyzes examples of literature from the 1980s in light of recent critical emphasis in postmodern studies on hypermedia, a medium of information in which texts, data records, and media files are linked together in a non-linear format. Critics such as Azuma Hiroki associate the decentering impulse of hypermedia with consumer habits in the 2000s; these ideas played a central role in the development of postmodern writing in the 1980s and its resistance to the attempts of colloquial movements like genbun itchi to reaffirm the value of the narrative form and the centrality of the author function. The narrative fragmentation encouraged by the work of Tanaka Yasuo, Takahashi Gen'ichiro, and Kobayashi Kyoji enables a form of critical engagement better suited to the decentralized postmodern condition than the previous author-centered literary tradition. Their metafictional writing self-consciously addresses the conventions of fiction in order to demonstrate how technology, information, and the changing view of the author influence the database imagination of Japan's postmodern condition.
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| 2 |
ID:
133470
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| Publication |
2014.
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| Summary/Abstract |
Cultural treatments of the 1995 Tokyo subway gas attacks perpetrated by Aum Supreme Truth (Aum Shinriky?) often reference another tumultuous episode that many argue belongs to the same radical impulse in Japanese society: the violent end to the 'extremist period' of the late 1960s and early 1970s, punctuated by the United Red Army's Asama Sans? incident of 1972. Yet while scholarship and the media have sought to contextualize the gas attacks by directly identifying Aum in relation to United Red Army radicalism, the works examined here thematize the unassimilated nature of the extremist period in the Japanese historical imaginary and complicate the construction of referential ties in the narration of these events. Produced in the years following the attacks, two works of manga serialized in the late 1990s and 2000s - Biriibaazu [Believers, 1999] and Nij?seiki Sh?nen [Twentieth Century Boys, 1999-2006] - represent Aum as a trace of an event that has not been fully assimilated in the cultural consciousness. These two works demonstrate how the largely unclaimed nature of the radical era highlights the problems of transcribing unprocessed events like the United Red Army incident into narrative imaginings of recent Japanese history
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