Japanese Cultural Nationalism and Globalization in an Asia-Pacific Context

Globalization, Localization, and Japanese Studies in the Asia-Pacific Region : Past, Present, Future, シドニー大学, 2003年11月10日-13

日本国家主義者としての小泉八雲

During the fourteen years that Lafcadio Hearn alias Koizumi Yakumolived in Japan (Meiji 23-37, 1890-1904), his attitude toward nationalismunderwent a profound change. Before his arrival in Japan the only kindof nationalism evinced in his writings was in the gentle tradition of theold romantic Herderian school, a purely cultural nationalism?morespecifically, a nostalgic attachment to “dying” folk cultures such as those ofthe American and Caribbean Creoles. But his encounter with Meiji Japanturned him into an aggressive modern state nationalist, to the extent eventhat he adopted the Japanese cause against China and Russia. How canwe account for this dramatic transformation? On the one hand, it seemsobvious that the atmosphere of rising nationalism in late Meiji Japan hada profound impact on Hearn. But I would also argue that Hearn’s pre-Japan immersion in the Herderian struggle to save or at least memorialize“dying cultures” laid the ground for his “conversion” to an aggressive formof modern state nationalism vis-?-vis Japan, which at that time, like theCreole nations writ large, seemed threatened with cultural extinction

Multi-messenger observations of a binary neutron star merger

On 2017 August 17 a binary neutron star coalescence candidate (later designated GW170817) with merger time 12:41:04 UTC was observed through gravitational waves by the Advanced LIGO and Advanced Virgo detectors. The Fermi Gamma-ray Burst Monitor independently detected a gamma-ray burst (GRB 170817A) with a time delay of ~1.7 s with respect to the merger time. From the gravitational-wave signal, the source was initially localized to a sky region of 31 deg2 at a luminosity distance of 40+8-8 Mpc and with component masses consistent with neutron stars. The component masses were later measured to be in the range 0.86 to 2.26 Mo. An extensive observing campaign was launched across the electromagnetic spectrum leading to the discovery of a bright optical transient (SSS17a, now with the IAU identification of AT 2017gfo) in NGC 4993 (at ~40 Mpc) less than 11 hours after the merger by the One- Meter, Two Hemisphere (1M2H) team using the 1 m Swope Telescope. The optical transient was independently detected by multiple teams within an hour. Subsequent observations targeted the object and its environment. Early ultraviolet observations revealed a blue transient that faded within 48 hours. Optical and infrared observations showed a redward evolution over ~10 days. Following early non-detections, X-ray and radio emission were discovered at the transient’s position ~9 and ~16 days, respectively, after the merger. Both the X-ray and radio emission likely arise from a physical process that is distinct from the one that generates the UV/optical/near-infrared emission. No ultra-high-energy gamma-rays and no neutrino candidates consistent with the source were found in follow-up searches. These observations support the hypothesis that GW170817 was produced by the merger of two neutron stars in NGC4993 followed by a short gamma-ray burst (GRB 170817A) and a kilonova/macronova powered by the radioactive decay of r-process nuclei synthesized in the ejecta

Multi-messenger Observations of a Binary Neutron Star Merger

On 2017 August 17 a binary neutron star coalescence candidate (later designated GW170817) with merger time 12:41:04 UTC was observed through gravitational waves by the Advanced LIGO and Advanced Virgo detectors. The Fermi Gamma-ray Burst Monitor independently detected a gamma-ray burst (GRB 170817A) with a time delay of ∼ 1.7 {{s}} with respect to the merger time. From the gravitational-wave signal, the source was initially localized to a sky region of 31 deg2 at a luminosity distance of {40}-8+8 Mpc and with component masses consistent with neutron stars. The component masses were later measured to be in the range 0.86 to 2.26 {M}ȯ . An extensive observing campaign was launched across the electromagnetic spectrum leading to the discovery of a bright optical transient (SSS17a, now with the IAU identification of AT 2017gfo) in NGC 4993 (at ∼ 40 {{Mpc}}) less than 11 hours after the merger by the One-Meter, Two Hemisphere (1M2H) team using the 1 m Swope Telescope. The optical transient was independently detected by multiple teams within an hour. Subsequent observations targeted the object and its environment. Early ultraviolet observations revealed a blue transient that faded within 48 hours. Optical and infrared observations showed a redward evolution over ∼10 days. Following early non-detections, X-ray and radio emission were discovered at the transient’s position ∼ 9 and ∼ 16 days, respectively, after the merger. Both the X-ray and radio emission likely arise from a physical process that is distinct from the one that generates the UV/optical/near-infrared emission. No ultra-high-energy gamma-rays and no neutrino candidates consistent with the source were found in follow-up searches. These observations support the hypothesis that GW170817 was produced by the merger of two neutron stars in NGC 4993 followed by a short gamma-ray burst (GRB 170817A) and a kilonova/macronova powered by the radioactive decay of r-process nuclei synthesized in the ejecta.</p

An artless art : fiction and reality in the work of Shiga Naoya

This thesis offers a critical analysis of the work of Shiga Naoya, one of the major creative writers of modern Japan. Shiga is presented primarily as the author of shi- shosetsu ("I-novels"), a distinctively Japanese genre that combines elements of fiction and autobiography. This "blurring" of the lines between fiction and non-fiction is shown to have been particularly disturbing to certain Western critics, and the present thesis attempts to answer these critics, first, by showing the solid basis of the shi-shosetsu in the Japanese literary tradition; second, by showing how the mixture of fiction and reality is an integral part of Shiga's art on both a technical and a thematic level; and, third, by pointing out the parallels to Shiga's practise in some recent literary trends of the West itself. In Chapter 1, Shiga's first published story, "Aru Asa" ("One Morning"), is used as an example of the shi-shosetsu in its simplest and barest form, and thus as an example of everything that certain Western critics dislike about this genre. Some of them, for instance, have accused the story of "triviality". In answer to this charge, I have shown how Shiga, by virtue of his masterful style and his depth of psychological insight, manages to turn even seemingly insignificant material into significant literature. "Aru Asa", in fact, already contains in microcosm the central problem to be explored throughout Shiga's most important later works: namely, the conflict between the protagonist's desire for individual freedom and self-expression on the one hand and, on the other, his longing for peace of mind and communion with others. The solution which Shiga eventually offered to this "problem of the ego" is first adumbrated in the story I consider in Chapter 2, "Kinosaki ni te" (At Kinosaki"). Here the protagonist receives a profound shock to his sense of self— a near fatal accident--but also is given some intimation of the way to ultimate psychic health: through self-surrender and union with nature. On the principle that the best way to define something is often by contrast with its opposite, I have also compared this work with a Tolstoy story, "Three Deaths", in order to bring out more clearly the special qualities of the shi-shosetsu. In the story I deal with in Chapter 3, "Takibi" ("Bonfire the Shiga protagonist is seen to have already attained some degree of union with nature. The narrative progression of the story, in fact, consists simply of a steady deepening of this lyrical, idyllic mood. To show that there are some analogies to Shiga's "naturally plotted" stories in the recent West, I compare "Takibi" with a Hemingway story, "Big Two-Hearted River". I also point out that the affinity between the two authors' use of imagery as "objective correlative" is by no means coincidental, in view of the influence of Japanese poetry on Hemingway through Ezra Pound and the Imagists. In the fourth and final chapter I deal with An'ya Koro (A Dark Night's Passing), which I regard as the culmination of Shiga's art on both a thematic and a technical level. In this work Shiga himself comes to grips with the essential nature of the shi-shosetsu, including the fiction/reality dialectic that is the crucial problem at its core, and it is here also that he relates this technical issue with the thematic issue I see as central to his work: the protagonist's longing for spiritual liberation. In An'ya Koro, in other words, the problem of the man and the problem of the writer some to be seen as ultimately the same problem, and in a way that could obtain only when the man is a writer of shi-shosetsu. I conclude my discussion with what, in my view, Shiga has to offer to the Western reader, as well as an appraisal of what I consider to be the improved climate for the reception of his work in the West.Arts, Faculty ofAsian Studies, Department ofGraduat

The mask and the hammer : nihilism in the novels of Mishima Yukio

This thesis offers an analysis of some of the major novels of Mishima Yukio in the light of their underlying nihilist world-view. There are primarily three different levels to the analysis: philosophical, psychological and moral/political, to each of which a chapter is devoted. In the treatment of each of these "levels" the focus is not merely on the nihilism per se but on the aesthetic consequences of the nihilism in Mishima's art of fiction. An attempt is also made to place Mishima, as a "nihilist writer", within the international context of the nihilist literary/philosophical tradition, a tradition whose origins may be traced back to mid-nineteenth-century Europe. The analysis centres on what are, in the writer's view, Mishima's three major works—which also represent, coincidentally, the three separate decades of his literary career: Confessions of a Mask (Kamen no kokuhaku, 1949), The Temple of the Golden Pavilion (Kinkakuji, 1956) and The Sea of Fertility (Ho jo no umi, 1965-70), a total of six novels, since the latter work is a tetralogy. The study aims not to provide an all-inclusive survey of Mishima's career but to penetrate to the very core of his inspiration through an in-depth study of his most important works. Chapter One, "The Tragic Mask", begins with a general consideration of the relation between philosophy and the novel, or ideas and the novel, and offers a brief taxonomy of the "philosophical novel". Using this taxonomy, a description is then given of Mishima as a philosophic novelist whose central philosophy is nihilism. The main body of the chapter then offers an analysis of each of his three main works in terms of their nihilist philosophy, paying particular attention to its expression in "experiences of nothingness" which form the climaxes of the novels, and to the structural discipline which his use of this philosophy confers on the novels. Chapter Two, "The Void Behind the Mask", opens with a general discussion of the relation between nihilism and psychology, and then proceeds to a consideration of Mishima's own "nihilist psychology" and the "nihilist psychology" of his novels. Each of his major novels, whether explicitly "autobiographical" or more apparently "fictional", is found to be primarily an expression of the author's own "nihilist psychology". The active/passive tensions which characterize this psychology are analysed in Freudian, Adlerian and peculiarly Japanese terms. Chapter Three, "Hammer to Mask", opens with a general consideration of nihilist morality and politics, especially in terms of the "active nihilist" tradition which may be traced from Nietzsche down to 20th century fascism and terrorism. Mishima's own right-wing extremism and his glorification of terrorist violence place him squarely in this "active nihilist" moral/political tradition. But his "active nihilist" side was also continually in danger of being undermined by his "passive nihilist" side, his sense of the futility of all action. The resultant tensions are found to form the basis of the moral/political dialectic of his major novels.Arts, Faculty ofAsian Studies, Department ofGraduat