Kazuo Ishiguro and Memory

Teo, Yugin

doi:10.1057/9781137337191

Cited by 28 publications

(7 citation statements)

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“…Yugin Teo (2014) defines Kazuo Ishiguro as a novelist who customizes literary genres to create "a metaphorical framework" to analyse his favourite subjects (pp. 88-89).…”

Section: Magical Realism and Discontinuous Historymentioning

confidence: 99%

Discontinuous History and Magical Realism: A Foucauldian Reading of Kazuo Ishiguro’s The Buried Giant

Tanıyan¹

2021

litera

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Michel Foucault's archaeological approach to history contests Hegelian understanding of evolutionary and progressive history which presupposes an ultimate arrival at a perfect form of society. For Foucault, history does not follow a linear, dialectical line within a cause-and-effect relationship. Each historical period has its own conditions of truth and between these periods, there are breaks, twists, ruptures and discontinuities determined by power relations in that society. These historical transformations occur following a change in épistèmé which connotes to the available set of knowledge produced by discursive practices in a particular period. Within this context, this study aims to analyse historical discontinuities in Kazuo Ishiguro's magical realist novel, The Buried Giant (2015). In the novel, by benefiting from generic potentials of magical realism, and effectively exploiting the medieval romance, Ishiguro creates a quasimythological historical account of the Anglo-Saxon period. In his version, King Arthur makes Merlin perform a spell on a dragon. Due to the spell, the Britons and the Saxons suffer memory loss which causes historical discontinuities. Moreover, while the spell confines the people into a perpetual here and now, it grants Arthur absolute political power. The study will focus on these discontinuities and present a Foucauldian reading of the text. The study will also theoretically connect Foucault's discontinuous history with magical realism, which may broaden our understanding of Ishiguro's text.

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“…Yugin Teo (2014) defines Kazuo Ishiguro as a novelist who customizes literary genres to create "a metaphorical framework" to analyse his favourite subjects (pp. 88-89).…”

Section: Magical Realism and Discontinuous Historymentioning

confidence: 99%

Discontinuous History and Magical Realism: A Foucauldian Reading of Kazuo Ishiguro’s The Buried Giant

Tanıyan¹

2021

litera

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“…Išiguro je iskoristio nostalgiju da kroz sećanje izgradi bolji svet od sveta sadašnjosti jer je nostalgija žudnja za boljim svetom. (Teo, 2014: 87) Zbog toga vojnik kaže Benksu da je ,,važno, jako važno" (Ishiguro, 2000: 295) biti nostalgičan jer kada smo nostalgični, mi se sećamo i otkrivamo svet bolji od onoga kog otkrivamo kao odrasle osobe.…”

Section: Sećanje Kao Način Rekonstrukcije Identitetaunclassified

“…Njegova lična drama izaziva potisnuta sećanja i veruje da će rešavanjem slučaja nestalih roditelja uspeti da reši krizu svetu jer Kazuo Išiguro likom Kristofera Benksa ne daje jasnu granicu između ličnog i kolektivnog gubitka. (Teo, 2014: 59) Kao dečaka, Kristofera nisu mnogo zanimale svađe njegovih roditelja, ali kada je postao detektiv koji ne samo što treba da reši nestanak roditelja, već i da pronađe svoj identitet, on nastoji da na osnovu dokumenta iz Britanskog muzeja rekonstruiše događaje iz svog detinjstva i da shvati istorijsku podlogu koja se krije iza njegovog sećanja, pa tako i saznajemo o ,,imaginarnoj domovini" Kristofera Benksa, tj. Međunarodnom naselju u Šangaju, koje je nastalo udruživanjem britanske i američke koncesije 1863, a koje će prestati da postoji nakon napada na Perl Harbor 1941.…”

Section: Sećanje Kao Način Rekonstrukcije Identitetaunclassified

Rekonstrukcija identiteta i nepouzdani pripovedač u Išigurovom romanu Kad smo bili siročad

Abula¹,

Mirković²,

Dabić³

2019

SNG

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Ovaj rad se bavi ispitivanjem konceptarekonstrukcije identiteta i uloge nepouzdanog pripovedača uIšigurovom romanu Kad smo bili siročad. Kazuo Išiguro, jedan odnajznačanijih engleskih romanopisaca današnjice, je objavio ovajroman 2000. godine i u njemu otkrio svet metaforičkog i stvarnogznačenja sirotanstva. Uspešni londonski detektiv i protagonistaromana, Kristofer Benks, je odlučio da krene na putovanje kojeće mu pomoći da razreši mučna sećanja na prošlost i darekonstruiše svoj identitet. Kroz sećanje protagoniste, Išiguro jeukazao na nostalgiju i sećanje kao snažne sile koja deluju načoveka kada pojam doma nije definisan. Roman Kad smo bilisiročad je uspeo da opovrgne ideje o postojanom i fiksnomidentitetu ukazujući na činjenicu da metropola jača nove,nasleđene identitete. Ovi identiteti pokazuju da sećanje može bitinepouzdano, što je takođe dokazao i Išigurov nepouzdanipripovedač.

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“…50 With regard to this, Yugin Teo argues that Kathy's testimony 'is their final act of resistance against the collective forgetting of those who wish to deny their existence'. 51 Yet this interpretation of nostalgia as a means of survival appears to be somewhat simplistic. Memories themselves are not subversive; in order to make them so, Kathy would have to tell her stories to others.…”

Section: Nostalgia In Dystopian Novelsmentioning

confidence: 99%

'Who Controls the Past Controls the Future: Who Controls the Present Controls the Past': Nostalgia as a Phenomenon in Dystopian Novels

Nakamura¹

2016

Dandelion: Postgraduate Arts Journal and Research Network

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Kazuo Ishiguro and Memory

Cited by 28 publications

References 0 publications

Discontinuous History and Magical Realism: A Foucauldian Reading of Kazuo Ishiguro’s The Buried Giant

Discontinuous History and Magical Realism: A Foucauldian Reading of Kazuo Ishiguro’s The Buried Giant

Rekonstrukcija identiteta i nepouzdani pripovedač u Išigurovom romanu Kad smo bili siročad

'Who Controls the Past Controls the Future: Who Controls the Present Controls the Past': Nostalgia as a Phenomenon in Dystopian Novels

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