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How can a movement like Surrealism be transferred, transplanted, or transported from one culture to another, one language to another? This book traces the creative dialogue between France and Japan in the early twentieth century, focusing on Surrealist and avant-garde writings. It opens a theoretical treatment of cultural memory, influence, visuality, writing, nostalgia, and nation to suggest a new perspective for the reading of modern Japanese culture and cross-cultural interactions. The author argues that the problem of literary influences should be recast as a problem of cultural memory, where analysis of causes and effects gives way to a deeper analysis of displacements and aftershocks, which she calls cultural “fault lines.”
The book analyzes the writings of Takiguchi Shuzo, Nishiwaki Junzaburo, Kitasono Katsue, and others whose work was associated explicitly with the Surrealist movement in Japan. It also incorporates readings of other experimental works and postwar performances that reflect the wider impact of these avant-garde ideas. The author argues that a vision of alterity, a foreign space located somewhere beyond, plays a crucial role in formulations of avant-garde praxis in both the Japanese and French contexts. Here exploration of Japanese notions of the Surreal, calling for a rereading of received notions about French avant-gardes, leads to a reconfiguration of this period, written less as a narrative history of literature than as the nonlinear route of a multivalent dialogue.
Japanese Surrealism is important both for the specific questions it raises and for its exemplary place as an encounter between cultures, literary movements, and languages. As a movement that challenges and breaks apart clear and bounded conceptions of language, poetry, and the transmissibility of meaning, Japanese Surrealism reframes the relation between content and consciousness and is thus a particularly strong and revealing case of cultural interaction. What this avant-garde encounter makes apparent is that inherent discontinuities and fragmentations within individual cultures can also become crucial opportunities for productive intersections between distant realities and distant cultures.
- Sales Rank: #2183365 in Books
- Brand: Brand: Stanford University Press
- Published on: 2002-02-01
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .60" w x 6.00" l, .82 pounds
- Binding: Paperback
- 272 pages
- Used Book in Good Condition
Most helpful customer reviews
11 of 11 people found the following review helpful.
Groundbreaking study of Japanese Surrealist poetics
By Eric Selland (three7@earthlink.net)
Possibly one of the most significant developments in scholarship in recent years is the willingness to view historical and cultural change in non-western countries on their own terms...Most often in anthologies and biographical sketches the critical and theoretical writings of modern Japanese poets have been ignored...With Miryam Sas' groundbreaking study we are given a clear, and even intensive sense of the Japanese Surrealists as very much modern intellectuals in an active and passionate engagement with the ideas of their time. The theoretical writings and developments in the thought of such notables as Takiguchi Shuzo, who introduced Surrealism to Japan through his translations of Breton as well as his own writings, are covered extensively. Moreover, Sas provides material here which leads not onlyh to a deeper understanding of the thought behind 20th Century Japanese literary movements, but of the process of cultural transfer as well, in all its complexity and ambiguity. Sas notes in her prologue that "Japanese Surrelism is striking and important both for the specific questions it raises and for its exemplary place as an encounter between cultures, literary movements, and languages. Sas uses the title of her book, "Fault Lines," to denote how the introduction of Surrealism to Japan was, like the great Kanto earthquake which occurred around the same time, an occasion not only for literary "shock" and "rupture," but a variety of creative reconfigurations as well. The book goes beyond a simple chronology of events as they occured, and instead takes up specific theoretical and often deeply philosophical issues of concern to both French and Japanese poets, showing in great deail how the Japanese poets dealt with these issues within their own thought processes and poetic procedures. Both poetic works and theoretical writings of major Japanese figures such as Takiguch Shuzo, Nishiwaki Junzaburo and Kitasono Katue, as well as Surrealist forerunner Hagiwara Sakutaro are quoted and examined in detail...Sas makes an extensive use of the writings of Japanese poets, artists and crtitics [including]...hitherto ignored women poets such as Ema Shouko and Tomotani Shizue as well...a wealth of material...should add significantly to the awareness in this country of experimental poetry in Japan during this century...
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