Haruki Murakami and Religion: The nature of religion in 1Q84 and Colorless Tsukuru Tazaki and His Years of Pilgrimage

This course focuses on underlying religious and philosophical assumptions in the most recent works of Haruki Murakami (1949-), 1Q84 in three volumes and Colorless Tsukuru Tazaki and His Years of Pilgrimage. Murakami is the most popular and widely read novelist in Japan today and a major literary figure worldwide. He cites as his two sources for inspiration in writing 1Q84 George Orwell and the AUM religious cult, responsible for bombing Tokyo subways with sarin gas in the 1990s

Magical realism is the language of the emergent Post-Truth world

Drawing on a number of new readings of ‘Post-Truth’, defined as ‘Relating to or denoting circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief’, our essay interrogates the extent to which magical realism may be understood as the paradigmatic and quintessential discourse of the Post-Truth era. We paraphrase Homi Bhabha’s famous statement, made in the 1990s, that ‘magical realism is the language of the emergent postcolonial world’, and propose that, in the twenty-first century, magical realism is the language of the emergent Post-Truth world. In this essay we analyze and compare the Post-Truth techniques used in novels such as García Márquez’s One Hundred Years of Solitude, Rushdie’s Midnight’s Children, Mo Yan’s Big Breasts and Wide Hips and Murakami’s 1Q84. We combine Matthew d’Ancona’s robust call that we should fight against the follies of political Post-Truth with Anne Hegerfeldt’s argument that magical realism is designed to teach the general public how to read between the lines of politicians’ speeches in order to become a mature defender of truth, and therefore propose that the magical-realist novelist, in effect, ends up telling ‘lies that tell the truth’

Master of Arts

thesisI will examine the "Q" of 1Q84 as an invitation for questions about authenticity that result in an acknowledgement of the necessity to interpret one's own heritage and construct meaning in one's own present context. I will use examples of 1Q84's narrative structure, especially the parallel narratives of the protagonist dyad and various examples of appropriations of Orwellian themes within, especially the example of a central organizing force in the character Leader, to show the inaccessibility of history as "archaeological authenticity." Rather, following Heidegger's Being and Time, I will argue that authenticity is achieved as one accepts the inescapable recognition that heritage is already interpreted, and one accepts the necessity of interpreting one's own context in order to situate one's being within-making authentic being a hermeneutic process, rather than an archaeological process. The realization that one's relationship with the world is necessarily a hermeneutic process of appropriating one's cultural fragments and adapting them to a new narrative of being is a process that I will call ontic writing. Ontic writing emerges from the tension of one's own struggle to situate one's being between fate (perceived as heritage or historical truth as inevitable) and free-will (as one's ability to interpret and thus inflect their lived experience) as one deliberately weaves one's own narrative out of the fragments of one's received heritage. My analysis relies heavily upon Martin Heidegger's Being and Time, with Jacques Derrida's "Structure, Sign and Play" as the primary analytic framework

HUBUNGAN ANTARKLAUSA DALAM KALIMAT MAJEMUK BAHASA JEPANG PADA NOVEL 1Q84 KARYA HARUKI MURAKAMI

Penelitian ini membahas hubungan antarklausa dalam kalimat majemuk bahasa Jepang pada novel 1Q84 karya Haruki Murakami. Tujuan penelitian ini ialah mendeskripsikan hubungan antarklausa dalam kalimat majemuk bahasa Jepang pada novel 1Q84 karya Haruki Murakami. Dalam penelitian ini, digunakan teori yang dikemukakan oleh Iori untuk mendeskripsikan hubungan antarklausa dalam kalimat majemuk bahasa Jepang. Metode penelitian yang digunakan adalah metode yang dikemukakan oleh Sudaryanto, yaitu 1) metode dan teknik penyediaan data, 2) metode dan teknik analisis data, dan 3) metode dan teknik penyajian hasil analisis data. Dalam penyediaan data, metode yang digunakan adalah metode simak. Teknik dasarnya adalah teknik sadap. Teknik lanjutannya adalah teknik simak bebas libat cakap (SBLC), dan teknik catat. Untuk analisis data, digunakan metode padan dan metode agih. Metode padan yang digunakan adalah metode padan translasional dan metode padan ortografis. Teknik dasar yang digunakan adalah teknik pilah unsur penentu (PUP). Teknik lanjutannya adalah daya pilah translasional dan daya pilah ortografis. Untuk metode agih, teknik dasar yang digunakan adalah teknik bagi unsur langsung (BUL). Teknik lanjutan yang digunakan adalah teknik baca markah. Berdasarkan analisis data yang dilakukan, hubungan antarklausa dalam kalimat majemuk BJ yang ditemukan pertama kalimat majemuk-kondisi; kedua kalimat majemuk-alasan dan tujuan; ketiga kalimat majemuk-koneksi terbalik dan kontras; keempat kalimat majemuk- "~ te". situasi tak terduga, korelasi; dan kelima kalimat majemuk-waktu. Pengaruh hubungan antarklausa juga dipengaruhi oleh konjungsi dan adposisi dalam bentuk yang sama

Las grietas de lo contemporáneo

En aquest article em proposo meditar sobre l’art i la filosofia amb relació al temps. Vull pensar en allò que uneix art i filosofia en aquest sentit, que és un fet que considero de màxima importància (la seva finalitat comuna). Amb aquest objectiu, llegiré tres llibres en què aquesta estètica i aquesta filosofia del temps "succeeix": Divendres o els llimbs del Pacífic, de Michel Tournier, i 1Q84 i Kafka a la platja, ambdós de Haruki Murakami. Tinc la convicció que els tres llibres que m’ocupen poden materialitzar nombroses intervencions diferents en els conflictes econòmics, socials i polítics que conformen el present. I que, per consegüent, poden oferir-nos un món completament diferent del qual hem estat cecs fins ara. Un món en el qual, per algun motiu o altre, no hem tingut tirada a pensar anteriorment.In this paper, I want to think about art and philosophy in relation to time. I want to think about what art and philosophy have in common in that respect, which I consider to be something of the greatest importance (their common purpose). I do this by reading three books in which this aesthetics and this philosophy of time ‘happens’, namely Michel Tournier’s Friday and Haruki Murakami’s 1Q84 and Kafka on the Shore. It is my belief that the three books in question are able to realise many different interventions in the economic, social and political entanglements that make up the present. And that they, consequently, are able to offer us a wholly different earth to which we had been blind. An earth that we, for some reason, were unable to think before.En este artículo me propongo meditar acerca del arte y la filosofía en relación con el tiempo. Quiero pensar en lo que une al arte y a la filosofía en este sentido, que es algo que considero de la máxima importancia (su finalidad común). Con este fin voy a leer tres libros en los que esta estética y esta filosofía del tiempo “sucede”: Viernes o los limbos del Pacífico, de Michel Tournier y 1Q84 y Kafka en la orilla, ambos de Haruki Murakami. Tengo la convicción de que los tres libros que me ocupan pueden materializar numerosas intervenciones diferentes en los conflictos económicos, sociales y políticos que conforman el presente. Y que, por consiguiente, pueden ofrecernos un mundo completamente diferente ante el cual hasta ahora hemos sido ciegos. Un mundo que, por algún motivo, éramos incapaces de pensar anteriorment

Nostalgia isn’t what it used to be: the collected works of Haruki Murakami

Graduate Winner: 1st Place, 2012. 25th Annual Carl Neureuther Student Book Collection Competitio

The Cult and the World System: The Topoi of David Mitchell's Global Novels

This article describes how the novelist David Mitchell employs the “topos of the cult,” a set of conventions that describe a mental state of unfreedom, in the novels Ghostwritten (1999) and Cloud Atlas (2004). This figuration of an unfree form of society—characterized by a group's specialized language, closed social spaces, and charismatic leadership—has its origins in antitotalitarian political science, fiction, sociology, and psychology. Mitchell and Haruki Murakami (discussed briefly) both question how this Cold War legacy has shaped our understandings of individual agency, and both novelists employ the conventions in characters who understand the world as a simple, single totality. For both writers, the cult serves to draw a contrast with the novels' own self-consciously complex cognitive maps of the contemporary world system

~HOUGA II SEBAGAI PEMARKAH MODALITAS TOUI DALAM KALIMAT BAHASA JEPANG 日本語の文における｢～方がいい｣という当為モダリティ

ABSTRACT Savitri, Rizky Anggraeni Dian. 2015. ““~Houga ii Sebagai Pemarkah Modalitas Toui dalam Kalimat Bahasa Jepang”. Thesis, Departement of Japanese Studies Faculty of Humanities. Diponegoro University. The First Advisor Elizabeth IHANR, S.S, M.Hum. Second Advisor Maharani P. Ratna, S.S, M.Hum. In writing this thesis, the writer discussed about ‘~Houga ii as Modalities Toui In Japanese Sentence’. The writer took this theme to examine how the structure and meaning of houga ii. The purpose of this research is to describe the structure and meaning of houga ii in Japanese sentences. The method that used in this research is “agih” method. “Agih” method is data analysis method which is using part of the relevant language as the determination tool. Primary data that is used in this research is Haruki Murakami's novel ‘1Q84’. Besides, the data came from a song and the internet (Japanese web). Houga ii has a basic structure ~yori ~houga ii, which has functions as a comparison between two different things. Houga ii can be used together with adjective, noun, and verb. Verbs that can be used with houga ii is past tense, dictionary form and negative form. Houga ii also has a variation of a question form, those question words are ‘dochira’ and ‘izure’. There is also a variety of forms, that is houga yokatta. Houga ii has the basic meanings 'advice’ or ‘comparison'. In Indonesian, houga ii has meaning 'sebaiknya’ or ‘lebih baik'. Advice meaning can be used to suggest ourselves, interlocutors/listener, or for the general case. Houga ii can also indicate of a regret and dissatisfaction. Keywords : Modalitas, toui, houga ii