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1
Liaschenko, Timothy. "Problems of professionalism in three novels of Kazuo Ishiguro." Click here for download, 2008. http://proquest.umi.com/pqdweb?did=1564034051&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Amakawa, Kazuhiko [Verfasser], and Reinhard [Akademischer Betreuer] Schomäcker. "Active Site for Propene Metathesis in Silica-Supported Molybdenum Oxide Catalysts / Kazuhiko Amakawa. Betreuer: Reinhard Schomäcker." Berlin : Technische Universität Berlin, 2013. http://d-nb.info/1067384308/34.
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Okamura, Kazuko Verfasser], Egon [Akademischer Betreuer] Stephan, and Hannes [Akademischer Betreuer] [Stubbe. "Fahren unter Alkoholeinfluss in Japan : individuelle und gesellschaftliche Einflussfaktoren / Kazuko Okamura. Gutachter: Egon Stephan ; Hannes Stubbe." Köln : Universitäts- und Stadtbibliothek Köln, 2012. http://d-nb.info/1038227984/34.
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Okamura, Kazuko [Verfasser], Egon Akademischer Betreuer] Stephan, and Hannes [Akademischer Betreuer] [Stubbe. "Fahren unter Alkoholeinfluss in Japan : individuelle und gesellschaftliche Einflussfaktoren / Kazuko Okamura. Gutachter: Egon Stephan ; Hannes Stubbe." Köln : Universitäts- und Stadtbibliothek Köln, 2012. http://d-nb.info/1038227984/34.
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5
Teo, Yugin. "Kazuo Ishiguro and the work of memory." Thesis, University of Sussex, 2009. http://sro.sussex.ac.uk/id/eprint/38584/.
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Memory is among the most important of themes that form the basis for the novels of contemporary British novelist Kazuo Ishiguro (1954 -). The theme of memory pervades all of Ishiguro's six novels to date, and has proved to be a hallmark of his writing and a theme that he constantly returns to examine in his work. The significance of memory in Ishiguro's novels has often been mentioned by both critics and academics alike, but there has been very little research undertaken specifically on the work of memory in his novels.
6
Yazgi, Cihan. "Hegemony, And Value Construction In Kazuo Ishiguro'." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615521/index.pdf.
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This thesis analyses the hegemonic processes that are maintained by traditions, institutions and formations by discussing over the process of value construction the characters in Kazuo Ishiguro&rsquos two novels are engaged in. A Marxist approach is used along the way and the discussions over the novels were taken as an opportunity of underlining the necessity of a Marxist approach towards art in order to make use of its propaedeutic value and extract the hegemonic substance the artwork inheres. This thesis seeks to use the propaedeutic value of Ishiguro&rsquo
s novels to point out to the hegemony that is prevailing over our actual lives. It argues that the person always has to relate himself to a society, and hence that society and &lsquo
the hegemonic&rsquo
forces operant on that society come to shape his values and judgements at the end. In the end, what this study finds are the traces of the hegemonic processes that are hidden behind the individualized experience of Ishiguro&rsquo
s characters. Neither Stevens, nor Kathy can be underestimated to their individual choices. It is the hegemony, and the tradition and the institutions of that hegemony that construct their existence. Also, it is found out that it is again the hegemony that shapes the existence of Ishiguro&rsquo
s value judgements and his works&rsquo
value schemes that are studied here.
7
Sim, Wai-chew. "Globalisation and dislocation in the novels of Kazuo Ishiguro." Thesis, Online version, 2002. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.248840.
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Ekström, Björn. "Nya toner inom styckena : Medietransformation i Kazuo Ishiguros Nocturnes." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-44150.
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9
Sim, Wai-chew. "Globalization and dislocation in the novels of Kazuo Ishiguro /." Lewiston : the E. Mellen press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40938391j.
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10
Duangfai, Chanapa. "Psychological disorder and narrative order in Kazuo Ishiguro's novels." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8499/.
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This thesis explores Kazuo Ishiguro's six novels written in first-person narrative mode: A Pale View of Hills, An Artist of the Floating World, The Remains of the Day, The Unconso/ed, When We Were Orphans, and Never Let Me Go. The focus is on how Ishiguro's narrative techniques allow him to explore the themes of psychological disorder with which his work consistently engages, which will be identified here through use of ideas drawn from Sigmund Freud and from literary studies of trauma fiction. The argument will be divided into six chapters. In each chapter, one of Ishiguro' s novels will be studied thoroughly. Distorted narrative and the technique of transference of Etsuko in A Pale View of Hills are explored in chapter I. In chapter II, the research concerns particularly how Masuji Ono, the narrator of An Artist of the Floating World, who suffers from his demand to be respected and his indecisiveness in defining the sense of respect especially as a great artist. Chapter III deals with narrative of Stevens, an English butler, in The Remains of the Day, whose problem concerning his professional achievement in its relation to the idea of id, ego and superego. Chapter IV argues that The Unconsoled engages with how the dream-like narrative technique is developed in order to reveal Ryder's psychological problem, and how Ryder uses the dream-work mechanisms, especially displacement, to deal with his problem. Chapter V explores how When We Were Orphans works as detective fiction and how this relates to Christopher Banks' psychological problem, and, finally, in chapter VI, I examine the particular psychological problem articulated by the clone narrator of Never Let Me Go.
11
Tomimatsu, Maria Fusako. "Kazuo Wakabayashi: vida e obra de um artista imigrante." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-28112014-153851/.
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As produções artísticas do pintor Kazuo Wakabayshi podem ser divididas em duas etapas. A primeira é um conjunto de obras de tonalidade escura, de tom universal e sem qualquer indicação de sua origem étnica. A segunda fase, que se inicia por volta dos anos de 1980, consiste em obras de cores vibrantes, cujo detalhe apresenta elementos da cultura japonesa, tais como personagens do teatro kabuki, estampas da indumentária tradicional e outros elementos pertinentes àquela cultura. Apesar das notáveis diferenças entre as duas etapas, a elipse é a forma geométrica que sempre existiu na vida artística de Wakabayashi. O propósito da presente tese é trazer à tona o que está imerso nessas criações, primeiramente de natureza universal e, posteriormente, identitária. Acredito que a compreensão da arte desse artista imigrante poderá trazer respostas acerca da história de sua vidaThe artistic productions of the painter Kazuo Wakabayashi, who spent his teenage years during the World War II can be divided in two stages. The first one is represented by the group of paintings in dark tones, which lacks any sign of ethnic origin, and which seeks to preserve a universal tone. The second stage, which begins in 1980s, consists of vibrant colours paintings, whose details are rich on Japanese culture elements, such as the Kabuki play characters, the patterns of traditional clothing, among other elements. Although there are striking differences between these two stages, the ellipsis is the geometric form which has never left his artistic life. The present thesis seeks to bring to the surface what is immersed in the depth of these productions in his first stage, which has an universal character and in the later one, after the acception of his ethnic identity. The understanding of his work will enable us to find answers on the personal life of this Japanese immigrant artist
12
Zinck, Pascal. "L'art de la fugue : L'alienation dans l'œuvre de kazuo ishiguro." Paris 4, 2003. http://www.theses.fr/2003PA040007.
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Tours, retours et détours sont l'estampille de l'œuvre de Kazuo Ishiguro. Cette étude se propose d'explorer l'hétérogénéité des rétrofictions de Kazuo Ishiguro Dans une perspective narrative, psychanalytique, ontologique, culturelle, historique, linguistique et littéraire. La première partie examine les diachronies, les ambigui͏̈tés et les stratégies de diversion/subversion inhérentes au genre de la confession. La seconde partie constitue un inventaire pathologique des traumatismes et des troubles du comportement liés au deuil de l'enfance. La troisième partie est consacrée à l'aimantation qu'exerce le passé sur Kazuo Ishiguro, sous diverses facettes : l'exil, la nostalgie, la problématique de l'histoire et l'intertextualité. Kazuo Ishiguro ne se contente pas de revisiter et de réviser le passé, mais il chine son double héritage anglais et japonais en une partition perpetuum mobile, à la fois singulière et plurielleTours, returns and detours are the hallmark of Kazuo Ishiguro's work. This study probes the heterogeneity of Kazuo Ishiguro's retrofictions from a narrative, psychoanalytical, ontological, cultural, historical, linguistic and literary perspective. The first part focuses on diachronies, ambiguities and evasive/subversive strategies in relation to the confession genre. The second part is a pathological inventory analysing traumas and behavioural disorders due to childhood loss. The third and final part is devoted to Kazuo Ishiguro's magnetic attraction to the past in the form of exile, nostalgia, the problematics of history and intertextuality. Not only does Kazuo revisit and revise the past, but he interweaves his dual English and Japanese heritage into a perpetuum mobile which is both singular and plural
13
Silva, Anabela Ramos Soares da. "The (ho)use of memory: Kazuo Ishiguro's novels of remembrance." Master's thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/3962.
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Mestrado em Estudos InglesesA obra do autor britânico Kazuo Ishiguro é perpassada de imagens e reflexos da memória. Os narradores ishigurianos, relatando quase sempre na primeira pessoa, descrevem personagens e narram as suas vidas e os seus caminhos recorrendo à sua memória ou às imagens que a memória filtrou e armazenou. A memória é então um mecanismo de construção de histórias dotado de pouca fiabilidade, uma vez que ela retém apenas aquilo que pretende e não tudo aquilo que cada personagem experiencia e experimenta. A memória é selectiva, filtradora e “desonesta”, se bem que possa ser fiel e fidedigna, mas quem poderá avaliar e certificar a sua fiabilidade? Na literatura ishiguriana, em especial em determinadas obras do seu recente mas profícuo percurso, a memória tem um papel central e permite a (re)criação de cenários, de cheiros, de sabores, de cores e de pessoas de épocas passadas. É interessante notar que Ishiguro privilegia o período pós-II Guerra Mundial, provavelmente por ter sido esse o tempo em que nasceu, cresceu e viveu, ainda que apenas por cinco anos, num país particularmente afectado pelos estilhaços e destruição da guerra. É este país, o Japão, que utiliza em várias das suas obras, mas que afirma ser fruto de imaginação e do seu conhecimento do cinema japonês, dado que as imagens descritas são tão realistas e fidedignas. A memória funciona como um mecanismo ou uma estratégia literária, um fio condutor que transporta o narrador e o leitor numa viagem labiríntica na obra The Unconsoled, ou numa viagem de descoberta da verdade em Never Let Me Go, ou ainda numa viagem de tentativa de compreensão de vários eventos em A Pale View of the Hills.
The work of British author Kazuo Ishiguro is filled with images and reflections of memory. Ishigurian narrators, nearly always recounting in the first person, describe characters and narrate their lives and their paths making use of memory or of the images that memory has filtered and stored. Memory is then a mechanism which enables the construction of stories, a mechanism characterised by its unreliability, since memory only retains what it determines and not all that each character experiences and experiments. Memory is selective, a filter and “dishonest”, although it can be faithful and truthful, but who could assess and certify its reliability? In Ishigurian literature, especially in certain novels of the author’s recent but proficuous literary path, memory fulfils a central role and allows the (re)creation of scenarios, smells, flavours, colours and people from ancient times. It is interesting to note that Ishiguro privileges the post-II World War period, probably because it was during that time that he was born, grew up and lived, although for only five years, in a country particularly affected by the shattering and destruction of war. It is in this country, Japan, that he sets many of his novels, though stating that what he describes is merely a product of his imagination and knowledge of Japanese film art, given the realism and truthfulness of the images depicted. Memory functions as a literary mechanism or strategy, a conducive thread that transports both the narrator and the reader into a labyrinthine journey in The Unconsoled, or into a journey of the discovery of truth in Never Let Me Go, or yet in a journey of an attempt to understand several events in A Pale View of the Hills.
14
McCleese, Nicole L. "The Unconsoled a masochistic imagining of narrative and nation /." Diss., Connect to online resource - MSU authorized users, 2007.
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15
Takasugi, Steven Kazuo Takasugi Steven Kazuo. "Vers une miopie musicale /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p3007133.
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Thesis (Ph. D.)--University of California, San Diego, 2000.Vita. Includes an essay discussing three of the author's compositions: Mudai, Untitled, and Iridescent uncertainty, and the score for Iridescent uncertainty, (in conventional score notation and the Csound notelist score).
16
Oyabu, Kana. "Cross-cultural fiction the novels of Timothy Mo and Kazuo Ishiguro /." Thesis, Online Version, 1995. http://ethos.bl.uk/OrderDetails.do?did=2&uin=uk.bl.ethos.294474.
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17
Capellato, Júnior Edson Luiz [UNESP]. "Infância e memória em When We Were Orphans, de Kazuo Ishiguro." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/91544.
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capellatojunior_el_me_arafcl.pdf: 276039 bytes, checksum: 43006ced07fc1f75b1fe226bee0f10fa (MD5)Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Este trabalho analisa o romance When We Were Orphans, de produção do escritor Kazuo Ishiguro, focando o emprego da memória no texto literário, como forma de examinar as estratégias empregadas pelo escritor. A principal preocupação estética do autor britânico volta-se para a maneira como seus personagens lêem e interpretam suas histórias de vida e para como eles percebem as forças que conduzem seus destinos e como reescrevem tais detalhes. A estratégia narrativa adotada é a do emprego da memória marcando a percepção a posteriori que caracteriza o relato. O estudo, portanto, aponta a técnica narrativa ligada aos processos psíquicos constituintes da memória, e auxilia na exposição do sofrimento humano, na crítica sutil ao imperialismo e colonialismo do século XX, tema e motivo de seus romances. Dessa forma, o autor enfatiza as técnicas que as pessoas usam para encobrir e às vezes até para suprimir suas emoções e, em particular, a maneira pela qual tais emoções são estimuladas pela memória. O trabalho terá como suporte teórico os estudos freudianos sobre a memória, o estranho e as experiências ocorridas na infância, particularmente considerando a atuação do narrador, o personagem Christopher Banks, como foco central.
This study analyses the novel When We Were Orphans, as part of the writer Kazuo Ishiguro’s production, focusing the application of the memory in the literary text, as a form of examining the strategies used by the author. The British author’s main aesthetical concern is turned to how his characters read and interpret their life story, and to how they apprehend the forces which lead their destiny, and how they write such details. The adopted narrative strategy is one which engages memory, determining the posteriori perception that characterizes the narration. The study, therefore, indicates the narrative technique linked to psychical processes which constitute memory, and help with the exposition of the human anguish; with the subtle criticism to the 20th century’s imperialism and colonialism, theme and motif of his novels. For that reason, the author emphasizes the techniques people use to cover, and sometimes even to supply their emotions and, particularly the way from which such emotions are aroused by memory. The paper shall have, as theoretical support, the Freudian studies about memory, the strange and the experience occurred during childhood, especially considering the narrator’s performance, the character Christopher Banks., as essential focus.
18
Webley, Alyn. "The vocational imperative : Kazuo Ishiguro's fictions and the discourse of denial." Thesis, University of South Wales, 2008. https://pure.southwales.ac.uk/en/studentthesis/the-vocational-imperative(2fde3384-a9b5-4995-ac2f-145e8fac979a).html.
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The reflective first-person narratives of Ishiguro's texts contain a representation of the way in which people's immersion in hegemony, combined with the demands of a disciplinary society, results in the internalisation of hegemonic values. This sophisticated understanding of the individual subject's relationship with his or her social environment puts Ishiguro in tune with ideas presented by various twentieth-century theorists. This thesis introduces the concepts of 'interpretive consonance' and 'vocational imperative' as a means of understanding Ishiguro's writing as a fictional embodiment and exploration of these ideas. Following a general introduction, the first chapter establishes frames for a reading of Ishiguro's works by elucidating the theoretical underpinning of the concepts of interpretive consonance and vocational imperative. I use Gramsci's notions of hegemony and consent to clarify the concept of interpretive consonance, the idea that the uncritical ingestion of a particular set of social values shapes Ishiguro's narrators' perceptions of events in their surroundings. That is, their interpretation of their environments is consonant with the hegemonic values that they have assimilated. Foucault's analysis of power and discourse is then used to explain the development of the functionally based subjectivity of Ishiguro's narrators and their almost fanatical adherence to the confines of their vocations - the notion that they are bound by a vocational imperative. Freud's concept of the super-ego is then utilised to explain the individual psychological dynamic involved in shaping the personal identities of Ishiguro's narrators around their vocations. Subsequent chapters follow the chronological order of Ishiguro's novels. In them, I use the concepts of interpretive consonance and vocational imperative to explore Ishiguro's writing. Chapter two, on A Pale View of Hills, emphasises Ishiguro's use of hegemony and the discourse of motherhood in his construction of the experiences of Etsuko in post Second World War Nagasaki. Chapter three focuses on Ishiguro's understanding of the relationship between power and subjectivity and the delineation of the development of the fascist beliefs of Ono, the narrator in An Artist of the Floating World, under the guise of his commitment to his career as an artist. Chapter four, on The Remains of the Day, analyses the type of vocational narration used by Stevens, the butler, in his attempts to negotiate both his personal failures and his historical misjudgements. Chapter five explores notions of self-division and dislocation to be found in The Unconsoled, as Ryder, the pianist, struggles in vain to fulfil his professional commitments in a bewildering environment. Chapter six, on When We Were Orphans, examines Ishiguro's construction of the vocational identity of Christopher Banks, the detective, on the basis of an understanding of how historical forces create conflict and loss in the sphere of the family. Chapter seven, on Never Let Me Go, discusses the fate of the clones who must complete their vocational imperative at the cost of their lives in a social atmosphere of total administration. I conclude with an assessment of Ishiguro's novels as an invitation to reflect on the personal and cultural devastation caused by the historical traumas and pressures of twentieth century, and early twenty-first century, life.
19
Capellato, Júnior Edson Luiz. "Infância e memória em When We Were Orphans, de Kazuo Ishiguro /." Araraquara : [s.n.], 2009. http://hdl.handle.net/11449/91544.
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Orientador: Maria das Graças Gomes Villa da SilvaBanca: Nelson Viana
Banca: Maria Clara Bonetti Paro
Resumo: Este trabalho analisa o romance When We Were Orphans, de produção do escritor Kazuo Ishiguro, focando o emprego da memória no texto literário, como forma de examinar as estratégias empregadas pelo escritor. A principal preocupação estética do autor britânico volta-se para a maneira como seus personagens lêem e interpretam suas histórias de vida e para como eles percebem as forças que conduzem seus destinos e como reescrevem tais detalhes. A estratégia narrativa adotada é a do emprego da memória marcando a percepção a posteriori que caracteriza o relato. O estudo, portanto, aponta a técnica narrativa ligada aos processos psíquicos constituintes da memória, e auxilia na exposição do sofrimento humano, na crítica sutil ao imperialismo e colonialismo do século XX, tema e motivo de seus romances. Dessa forma, o autor enfatiza as técnicas que as pessoas usam para encobrir e às vezes até para suprimir suas emoções e, em particular, a maneira pela qual tais emoções são estimuladas pela memória. O trabalho terá como suporte teórico os estudos freudianos sobre a memória, o estranho e as experiências ocorridas na infância, particularmente considerando a atuação do narrador, o personagem Christopher Banks, como foco central.
Abstract: This study analyses the novel When We Were Orphans, as part of the writer Kazuo Ishiguro's production, focusing the application of the memory in the literary text, as a form of examining the strategies used by the author. The British author's main aesthetical concern is turned to how his characters read and interpret their life story, and to how they apprehend the forces which lead their destiny, and how they write such details. The adopted narrative strategy is one which engages memory, determining the posteriori perception that characterizes the narration. The study, therefore, indicates the narrative technique linked to psychical processes which constitute memory, and help with the exposition of the human anguish; with the subtle criticism to the 20th century's imperialism and colonialism, theme and motif of his novels. For that reason, the author emphasizes the techniques people use to cover, and sometimes even to supply their emotions and, particularly the way from which such emotions are aroused by memory. The paper shall have, as theoretical support, the Freudian studies about memory, the strange and the experience occurred during childhood, especially considering the narrator's performance, the character Christopher Banks., as essential focus.
Mestre
20
Webster, Thomas Diane A. "Identity, identification and narcissistic phantasy in the novels of Kazuo Ishiguro." Thesis, University of East London, 2013. http://roar.uel.ac.uk/3451/.
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This thesis explores Ishiguro’s novels in the light of his preoccupation with emotional upheaval: the psychological devastations of trauma, persisting in memory from childhood into middle and old age. He demonstrates how the first person narrators maintain human dignity and self-esteem unknowingly, through specific, psychic defence mechanisms and the related behaviours, typical of narcissism. Ishiguro’s vision has affinities with the post-Kleinian Object-Relations psychoanalytic literature on borderline states of mind and narcissism. I propose a hybrid, critical framework which takes account of this, along with the key aspects of the traditional humanist novel, held in tension with certain deconstructive tactics from postmodernist writing. Post-Kleinian theory and practice sit within the humanist approach in any case, with both the ethical and the reality-seeking imperatives, paramount. Ishiguro presents humanism in the ‘deficit’ model and this framework helps to bring it into view. The argument is supported by close readings of the six novels in which the trauma concerns different forms of fragmentation from wars, socio-historic upheaval, geographical dislocation, and emotional disconnection. All involve psychic fragmentation of the ego in the central character, through splitting and projection. Ishiguro, himself, perceives some sorts of object-relations, psychic mechanisms, operating at the unconscious level, which he calls ‘appropriation’ and which the post- Kleinians have theorised. They have found a range of variants of projective identification into the ‘other’ with the re-introjection of a distorted self, suffused with narcissistic phantasy. While these defences are protective, Ishiguro seems aware that excessive projection comes at a cost: depletion of affect, weak identity, limited symbol formation, thinking and self-knowledge, and a diminished capacity to give meaning to relationships. These factors are all borne out in his narrators’ omnipotent behaviours – in re-enaction. Ishiguro’s narrative methods produce figurative representations of the narrators’ internal worlds through his external worlds of settings, while other conventions of the novel, such as plot, character, genre and so on, are reconfigured in their deficit versions.
21
Irie, Kazuki Verfasser], Hermann [Akademischer Betreuer] [Ney, and Mori Renato [Akademischer Betreuer] de. "Advancing neural language modeling in automatic speech recognition / Kazuki Irie ; Hermann Ney, Renato de Mori." Aachen : Universitätsbibliothek der RWTH Aachen, 2020. http://d-nb.info/1217503803/34.
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Irie, Kazuki [Verfasser], Hermann [Akademischer Betreuer] Ney, and Mori Renato [Akademischer Betreuer] de. "Advancing neural language modeling in automatic speech recognition / Kazuki Irie ; Hermann Ney, Renato de Mori." Aachen : Universitätsbibliothek der RWTH Aachen, 2020. http://d-nb.info/1217503803/34.
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Lessinger, Enora. "The Translation of Silence in K. Ishiguro’s Novels ˸ testing the Explicitation Hypothesis on Unreliable Narratives." Thesis, Paris 3, 2019. http://bibnum.univ-paris3.fr/webclient/DeliveryManager?pid=323335.
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Cette thèse explore la traduction de quatre romans de Kazuo Ishiguro en cinq langues : le français, l'espagnol, l'hébreu, le portugais et le turc. La centralité de l'implicite et du non-dit dans le pacte narratif appelle à une participation active du lecteur implicite, ce qui a naturellement des conséquences sur le procédé de traduction : d'une part, le traducteur est en premier lieu un lecteur, et de l'autre la traduction comporte un risque communicationnel accru (Becher 2010a). Afin d'explorer le défi lié à la recréation de la poétique du silence à l’œuvre dans la stratégie narrative de ces romans, le présent travail croise l'étude des universaux de traduction à celle de la poétique narrative, testant au niveau narratif l'hypothèse de l'explicitation proposée par Blum-Kulka en 1986. Cet universel de traduction potentiel postule l'existence d'une tendance à l'explicitation dans le passage du texte source au texte cible. L'approche narratologique adoptée ici constitue une nouvelle perspective dans l'étude de l'explicitation en traduction. Les approches linguistique et cognitive sont présentes avant tout pour permettre de situer l'approche narratologique dans le champ de l'étude de l'explicitation. Les résultats obtenus montrent une tendance globale à l'implicitation de la stratégie narrative dans les récits caractérisés par un pacte narratif collaboratif. Cette implicitation peut prendre la forme d'un remplissage des blancs narratifs et d'une résolution de l'ambiguïté du texte, ou passer par la disparition d'indices textuels permettant au lecteur implicite d'accéder au sous-texte. Ces résultats suggèrent que l'universel de traduction en jeu n'est pas l'explicitation, mais plutôt la réduction de voix narratives complexes (Chesterman 2010)This thesis explores the translations of four of Kazuo Ishiguro’s novels into five target languages – French, Hebrew, Portuguese, Spanish and Turkish. The centrality of the implicit and the unsaid in the narrative pact entails the implied reader’s active participation and naturally has consequences on the translation process, both because the translator is initially a reader and due to the increased communicative risk involved in translation (Becher 2010a). In order to explore the challenge of recreating the verbal restraint and poetics of silence at work in these novels’ respective narrative strategies, this investigation crosses the study of translation universals with that of narrative poetics, testing at the narratological level the explicitation hypothesis put forward by Blum-Kulka in 1986. This potential universal of translation posits the existence of a tendency towards greater explicitness in target texts than in corresponding source texts. The focus on narrative poetics adopted here constitutes a new approach to the study of explicitation in translation; linguistic and cognitive explicitness are considered chiefly in order to situate narratological explicitness in relation to them. The results obtained show a generalised tendency towards implicitation of the narrative strategy in unreliable narratives, i.e. in narratives where indirectness is a central narrative device. This implicitation can correspond to blank-filling and resolution of ambiguity, or to the disappearance of the textual clues pointing the implied reader to the subtext below the surface narrative. This in turn suggests that the translation universal at play here is not explicitation but reduction of complex narrative voices (Chesterman 2010)
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土橋今日子 and Kyoko Dobashi. "Hybridity as a new genre of literature : the works of Kazuo Ishiguro." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/192984.
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Homi K. Bhabha suggests that hybridity bridges more than just cultural, genetic, linguistic and national differences. His theory explores a hybridity that reconciles such ubiquitous peripheral differences as generational, gender, class, societal and even individual differences. Even before the era of imperialism and globalization, such hybridization was present within national and cultural frameworks. The differences were acknowledged, confronted, wrestled with and incorporated into a new entity or phenomenon – whether coherent or incoherent – and made part of a culture, society, morality, etc. This dissertation applies the workings of the hybridization logic to literature, and particularly the in-between spaces in narratology. It explores multiple aspects of the narrative’s liminalities, in character, style and structure, to pinpoint any moments that may engender hybridization in fictional discourse. Kazuo Ishiguro’s novels are replete with fused contradictions and negotiated differences on many levels, extending far beyond any genre differences. This paper seeks to define the concept and workings of ‘hybridity’ in literature through the analysis of Ishiguro’s six novels: Pale View of Hills, An Artist of the Floating World, The Remains of the Day, The Unconsoled, When We Were Orphans and Never Let Me Go. The tenets of Mikhail M. Bakhtin’s dialogism are also employed to unveil multiple connotations or different voices in a discourse, ultimately facilitating the unearthing of hybridity. This dissertation, thus, hones in in particular on the author-narrator dialogic interactions.published_or_final_version
English Studies
Master
Master of Arts
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Dalrymple, James. "Jouer au détective chez Kazuo Ishiguro et dans le whodunit métafictionnel britannique." Thesis, Université Grenoble Alpes (ComUE), 2017. http://www.theses.fr/2017GREAL009/document.
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Nous constatons que le genre policier a été une riche source d’inspiration pour des écrivains souvent associés au roman postmoderne. Pour la plupart, les études sur ces réécritures du genre se concentrent sur des auteurs non britanniques, notamment Alain Robbe-Grillet, Paul Auster, Umberto Eco, Jorge Luis Borges et Vladimir Nabokov.Cette étude propose d’analyser des romans et une série britanniques,ainsi qu’un film anglo-américain, réécrivent le whodunit à travers l’intertextualité, la parodie et l’autoréflexivité. Dans ces œuvres métafictionnelles, qui sont toutes apparues depuis le début des années 1980, nous nous demandons si les attentes du roman policier ont complètement basculé ou si elles demeurent, au service d’un autre but.Au lieu de subvertir les conventions du genre classique, nous nous demandons au contraire si les œuvres du corpus les déploient afin de mener une autre enquête : une enquête sur l’histoire et l’identité britannique ? Alors que les œuvres reflètent la crise de confiance envers la représentation de l’histoire qui marque la période dite « postmoderne », reste-il l’espoir de résoudre rationnellement les mystères et les souffrances du passé ? Par conséquent, ces œuvres reflètent-elles une rupture du genre policier ou plutôt la continuité ?The detective story has been a rich source of inspiration for writers associated with postmodern fiction. For the most part, critical studies of these attempts to rewrite the genre have focused on non-British authors, including Alain Robbe-Grillet, Paul Auster, Umberto Eco, Jorge Luis Borges and Vladimir Nabokov. This study proposes to analyze British novels, a film and a television series which, similarly, rewrite the whodunit through intertextuality, parody and the self-reflexiveness.In these metafictional works, which have all appeared since the beginning of the 1980s, we ask if the expectations invoked by the detective story are completely frustrated or rather if they are employed in the service of another goal. Rather than subvert the conventions of the genre, we ask instead if the works in the corpus deploy them in order to conduct an investigation of another sort: an investigation into British history and identity. While the works reflect in part the crisis of confidence in historical representation that characterizes the postmodern period, we ask whether they display any faith in our ability to rationally unravel the mysteries and the sufferings of the past. In answering these questions we will decide if these works reflect a total break from the detective genre or, in fact, continuity with it
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Chamlou, Laurence. "Écritures de l'exil dans l'oeuvre d'Anita Brookner, Salman Rushdie et Kazuo Ishiguro." Paris 3, 1995. http://www.theses.fr/1995PA030077.
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Trois auteurs de provenances aussi diverses qu'anita brookner, salman rushdie et kazuo ishiguro convergent dans leur differences. L'exil prend des configurations multiples et aboutit a une nouvelle identite de l'etre qui fait de la condition hunaine une condition d'exile. Ils partent d'une recherche territoriale. Leurs personnages sont en quete d'un espace ou ils pourraient inscrire leurs marques, et chaque mouvement de leur part les meme vers la frontiere. Il y a une interiorisation de l'exil et c'est un regard mutile qui apparait,le miroir traduit une une beance. Des trois auteurs se situent entre la memoire et l'oubli en creant des personnages qui se presentent comme des etres de memoire, mais qui s'averent etre avant tout des etres de l'oubli. Une autre dualite se cree entre les notions de l'ephemere et de l'intemporel. Pour ceux qui ont l'exprerience du depart, la traversee de la vie s'apparente a une traversee de l'exil. Il y a une recherche des racines perdues chez les trois auteurs et les lieux de l'enfance deviennent des mirages obsedants. L'origine est signe de confusion. Babel et babil se melent, et les polyglottes apparaissent comme des parias. Ils sont des etres qui vivent dans un entre-langues. L'espace du langage est un espace fele qui doit faire face a une perte initiale : celle de la langue originelle. Un univers plurivoque jaillit, et tous les plis du sens menent a un tissu de silences que des ecrivains de la transition creent dans un jeu d'exclusions et d'inclusions, et ne laissent qu'une ruine, une ruine finale qui materialise une perte a partir de laquelle on pense la moderniteComing from different horizons, anita brookner, salman rushdie and kazuo ishiguro converge within their different styles. The notion of exile takes multiple forms and gives way to a new identity which presents the human condition as the condition of an exile. Their starting point is a territorial search. Their characters are in quest of a space where they try to inscribe their marks, and each of their movements brings them towards a frontier. An inner exile appears with a mutilated vision; the mirror translates a void. The authors find themselves between memory and oblivion by creating characters who are marked by oblivion. Another duality is created between what is ephemeral and and what is timeless. There is a serach for lost roots and the places of childhood become obsessing mirages. The origin is a sign of confusion. Babel an babble are mixed and the polyglots appear as pariahs. They are beings who live inbetween languages. The space of language is a cracked space which must face an inital loss - that of the original language. All the folds of meaning merge towards a tissue of silence that these writers of transition create within a game of exclusions and inclusions and leave only a ruin - a final ruin that materialises a loss from which modernity is thought
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Morgan, Andrew Hugh, and andr morgan@gmail com. "Refrain: postmodern confessions." RMIT University. Creative Media, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080702.152100.
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The creative component of my project is a conteporary, confessional novel, Refrain. The narrator, Jake, has spent his youth chasing a life that matched his dreams - first as a would-be rock star and then by fleeing to India in search of exotic adventures with his girlfriend. Now he returns alone to the suburban backwater he'd tried so hard to escape, ready for stability and responsibility. However, his attempts to reinvent himself in this world of chronic unemployment and limited horizons are thrown into confusion by old friends, estranged fmaily members, an unresolved attachment, and by his musical successor - a volatile young woman with her own problems, who draws him back to things he'd rather forget and towards a future he isn't ready to face. Refain is a story of idealism and desire, fading hopes and unexpected opportunities, long-distance love and short-sightedness. The exegetical component of my project investigates the term 'portmodern confession' as an i ntersection of the confessional narrative mode and postmodernism, and its application to two recent texts: The sportswriter by Richard Ford, and The remains of teh day by Kazuo Ishiguro.
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Ward, Matthew. "Leaving Darlington Hall Behind: A Foucauldian Analysis of Power in Kazuo Ishiguro’s The Remains of the Day." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-30774.
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Ståhlberg, Andreas. "The Functions of the Narratee in Kazuo Ishiguro's The Remains of the Day." Thesis, Karlstad University, Faculty of Arts and Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1639.
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Since its publication in 1989, Kazuo Ishiguro’s third novel, The Remains of the Day, has received a great deal of attention. It has been the object of criticism as well as acclaim and even been turned into film. It is the purpose of this essay to explore reader communication and characterisation The Remains of the Day by analysing its narratee, i.e. the receiver of the narrator’s story within the text. This entails the application of a reader response approach on the level of the narrative. More precisely, the investigation focuses on the functions of the narratee in the areas of reader communication and characterisation of the narrator and main character of the novel, Stevens.
I argue that the narratee, as an agent of the narrative, has two prominent functions in the novel: the first is as a tool for the author in the characterisation of the narrator of the story, and the second is as a device for achieving communication between author and reader. My thesis is that the narratee is not utilised in a mere supportive capacity in the novel, but as a primary way of achieving reader communication and characterisation of the narrator. Thus, methodologically this investigation is performed in part by reconstructing the narratee, and in part by analysing the communicative situation contained in the narrative.
The investigation yields ample evidence to support that the narratee, as a device of the narrative, is utilised as a primary way of achieving reader communication and characterisation of the narrator in the novel. The narratee’s indirect influence in the novel is surprisingly tangible and the narratee is revealed as a major mover of the narrative. In addition to this, the analysis shows that the narrator can also be his own narratee. In this regard Stevens’s role in the narrative is twofold: he is both the narrator, who tells his story, and the narratee, who receives the story. The duality serves to highlight and reconcile the complexities and idiosyncrasies of his conflicted character, as well as make the narrative more accessible to the reader.
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Zanjani, Henriksen Lene. "Voice and silence in contemporary fiction : Kazuo Ishiguro, J.M. Coetzee and Jeanette Winterson." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420529.
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Weiß, Norman. "Kazuko Hirose Kawaguchi: A Social Theory of International Law, International Relations asa Complex System (International Law i n Japanese Perspective, Band 10) / [rezensiert von] Norman Weiß." Universität Potsdam, 2004. http://opus.kobv.de/ubp/volltexte/2011/5581/.
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rezensiertes Werk:
Kawaguchi, Kazuko Hirose: A Social Theory of International Law, International Relations asa Complex System (International Law in Japanese Perspective, Band 10). Leiden/Boston : Martinus Nijhoff Publishers, 2003. - 316 S.
ISBN: 90-411-2158-7
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Massip-Bosch, Enric. "Five forms of emotion : Kazuo Shinohara and the house as a work of art." Doctoral thesis, Universitat Politècnica de Catalunya, 2016. http://hdl.handle.net/10803/393940.
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This research presents the work of the Japanese architect Kazuo Shinohara (1925-2006) and studies five of his residential designs as epitome of his oeuvre. lts development is understood as a continuous quest to reconcile two key elements, the house and the city, in order to put emotional the heart of domestic space. These two elements were present in his preoccupations from the beginning of his career but he only managed to merge them in his last designs.
lt is based on the assumption that this is one of the first in-depth research studies developed beyond the conventional segmentation and explanation of his work. lt thus considers it more important to open new perspectives on Shinohara's oeuvre than to foc us exclusively on one of them, a task that might be pursued later on.
Analyzing sorne of Shinohara's first writings and using as a starting point his simultaneous design of two very different houses, House in White and House of Earth (1964-1966), this thesis delineates a connecting line among three more choice projects's panning 20 years of practice, thus shedding a new light on Shinohara's design methods and helping explain their unity behind their apparent dissimilarities: Tanikawa House (1972-1974), House in Uehara (1975-1976) and House in Yokohama (1982-1984).
After a general description of Shinohara's relevance and main ideas on tradition, domesticity and the city, it continues with the argumentation of why a certain group of projects has been left out of this research and analyzes the five projects of this evolution, pointing out their common traits and their consistency with the general exploration about the house as a work of art started by Shinohara in 1964.
Further original contributions of this thesis to the field of Shinohara's studies consist in the translation for the first time into English of a founding article, "The House is Art" (1961), and an abridged version of "Subjectivity of Residential Design" (1964), and the reproduction of a previously unpublished text by Shinohara, "A Discourse On Tokyo; From Tokyo, Via Kazuo Shinohara: An Objective" (1998). In a separate volume this thesis incorporates the original construction designs for the five houses, with English captions.Aquesta investigació presenta l’obra de l’arquitecte japonès Kazuo Shinohara (1925-2006) i n’estudia cinc dels seus dissenys residencials com epítom del seu treball. El seu desenvolupament s’entén com una recerca contínua que mira de conciliar dos elements clau, la casa i la ciutat, per tal de posar l’emoció al cor de l’espai domèstic. Aquests dos elements ja eren presents en les seves preocupacions des de l’inici de la seva carrera, però només va aconseguir fusionar-los en els seus últims dissenys. Es basa en la constatació que aquest és un dels primers estudis d’investigació en profunditat desenvolupats més enllà de la segmentació i explicació convencionals del seu treball. Per tant, considera que ara és més important obrir noves perspectives sobre l’obra de Shinohara que centrar-se exclusivament en un dels seus aspectes, una tasca que pot ser desenvolupada en el futur. Analitzant alguns dels primers escrits de Shinohara i utilitzant com a punt de partida el disseny simultani de dues cases molt diferents, la Casa en Blanc i la Casa de la Terra (1964-1966), aquesta tesi traça una línia de connexió entre tres altres projectes signifi cats, abarcant vint anys de pràctica, per tal de llançar una nova llum sobre els mètodes de disseny de Shinohara i ajudar a explicar la seva unitat darrere de les seves aparents diferències: la Casa Tanikawa (1972-1974), la Casa a Uehara (1975-1976) i la Casa a Yokohama (1982-1984). Després d’una descripció general de la rellevància de Shinohara i de les seves idees principals sobre la tradició, la domesticitat i la ciutat, continua amb l’argumentació de per què un determinat grup de projectes s’ha quedat fora d’aquesta investigació i l’anàlisi dels cinc projectes d’aquesta evolució, assenyalant els trets comuns i la seva coherència amb l’exploració general, iniciada per Shinohara el 1964, de la casa com una obra d’art. Altres contribucions originals d’aquesta tesi en el camp dels estudis de Shinohara consisteixen en la traducció per primera vegada en anglès d’un article fundacional, “La casa és art” (1961), i una versió abreujada de “Subjectivitat del disseny residencial” (1964), i la reproducció d’un text inèdit de Shinohara, “Un discurs sobre Tòquio; des de Tòquio, via Kazuo Shinohara: Un objectiu“ (1998). En un volum a part s’inclouen els projectes executius originals per a les cinc cases, amb traduccions en anglès de les principals llegendes.
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Mok, Siu-kit. "The ends of history the novels of Kazuo Ishiguro, Timothy Mo and Graham Swift /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B35812643.
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Mok, Siu-kit, and 莫少傑. "The ends of history: the novels of Kazuo Ishiguro, Timothy Mo and Graham Swift." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B35812643.
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Hughes, Alun. "Belonging in the Hyperreal : A Postmodern Reading of Kazuo Ishiguro's Never Let Me Go." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-39824.
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The focus of this essay is Kazuo Ishiguro’s Never Let Me Go. My central claim is that a theme of belonging underpins the novel and is recurrent in a number of different ways. In my reading, I utilise Jean Baudrillard’s postmodern critical concepts to produce this interpretation. I argue that the theme of belonging can be interpreted using Baudrillard’s loss of the real and hyperreal concepts. The usefulness of these concepts is primarily based on the element of clones and cloning in the narrative. Baudrillard’s theories deal with signs and images that do not correspond with the realities that they are meant to represent, mirroring the predicament of the Hailsham students in Never Let Me Go. My essay presents three main areas of discussion in relation to the theme of belonging. Firstly, Hailsham and the students are examined using the loss of the real/hyperreal concepts. The second area deals with belongings as a recurrent motif. In my reading, the dual meaning of the word belonging is an important factor in identifying the theme. This particular discussion deals also with ownership. The final area of discussion revolves around the issue of genre, or rather genres. The novel’s mixture of character drama and science-fiction dystopia is discussed in relation to the loss of the real/hyperreal.Uppsatsens fokus är Kazuo Ishiguros Never Let Me Go. Min huvudtes är att det finns ett tema av tillhörighet som utmärker romanen. I min läsning applicerar jag Jean Baudrillards postmoderna kritiska begrepp i tolkningen av texten. I uppsatsen argumenterar jag att temat av tillhörighet kan tolkas med hjälp Baudrillards begrepp förlust av verkligheten samt hyperverkligheten. Användbarheten av dessa begrepp bygger på förekomsten av kloner och kloning i texten. Baudrillards teorier handlar om tecken och bilder som ej motsvarar verkligheten på ett tydligt sätt, och denna brist på korrespondens mellan verklighet och representation avspeglar Hailsham-elevernas situation i Never Let Me Go. Min uppsats har tre huvuddiskussioner i förhållande till temat tillhörighet. För det första, undersöks Hailsham och eleverna med med hjälp av begreppen förlust av verkligheten/hyperverkligheten. Andra diskussionsområden handlar om tillhörighet/er som återkommande tema. I min läsning, är det faktum att ordet tillhörighet har två definitioner en viktig aspekt när man ska identifiera temat. Denna diskussion handlar också om äganderätt. Den sista diskussionen handlar om romanens genre, eller genrer. Även romanens blandning av karaktärsdrama och science-fictiondystopi diskuteras i förhållande till Baudrillards begrepp förlust av verkligheten/hyperverkligheten.
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Sugiyama, Rose Yukiko. "Espacialidades narrativas: uma leitura de An Artist of the Floating World de Kazuo Ishiguro." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-18112009-163255/.
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Nesta dissertação, o exame de An Artist of the Floating World, de Kazuo Ishiguro, adota a espacialidade como vetor interpretativo do romance. Ao considerarmos o espaço como um dado estruturante sobre o qual outros elementos narrativos se apóiam e se desenvolvem, apontamos alguns modos de tratamento do espaço na literatura para verificar as formas de sua consecução na obra. Embora o processo de rememoração do narrador protagonista envolva diferentes camadas temporais e espaciais, observamos a existência de um espaço primordial, a partir do qual todos os demais espaços são desdobrados, atuando como uma fonte de sentidos para as experiências vividas pelo protagonista. Pautada por sobreposições espaciais cujas camadas estabelecem relações de complementaridade, a narrativa cria um adensamento na significação dos eventos, dos conflitos e dos papéis vividos pelos personagens. Por meio de tais relações e na perspectiva das considerações críticas de Luis A. Brandão, Georges Poulet e Michel Foucault, buscamos analisar o espaço que rege este romance em suas funções e características heterotópicas.This dissertation examines An Artist of the Floating World by Kazuo Ishiguro through the category of space. Spatiality is considered a structuring element over which other narrative aspects develop. Some literary ways of space treatment are pointed out in order to verify how they function in this novel. The existence of a primordial space, through which all the other narrative spaces are unfolded, is observed as a source of meanings for the protagonists experiences, even though his process of remembrance implies different levels of time and space. Oriented by spatial superposition, whose levels establish complementary relations, the narrative creates a density of meanings, conflicts, and characters roles. Scrutinizing these relations and considering the critical approaches presented by Luis A. Brandão, Georges Poulet, and Michel Foucault, this dissertation analyses the space that rules this novel in its role and heterotopic features.
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Penner, Tom Philip. "Performing liminality, Kazuo Ishiguro's "The Remains of the Day" and Anita Brookner's "Look at Me"." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq51785.pdf.
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Barresi, Ludovica. ""Told and not told": la memoria tra repressione e rivelazione nei romanzi di Kazuo Ishiguro." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/12086/.
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La presente tesi analizza due romanzi di Kazuo Ishiguro: “The Remains of the Day” (1989) e “Never Let Me Go” (2005). L’obiettivo dell’elaborato è indagare sulla funzione ricoperta dal lavoro della memoria all’interno della narrazione, determinando se si tratti di uno strumento di repressione oppure di rivelazione per i due protagonisti. Il Capitolo I consiste in un profilo dell’autore e della sua produzione letteraria. Il Capitolo II affronta il rapporto fra memoria e letteratura, illustrando le forme con cui questi elementi possono entrare in contatto, fornendo una panoramica delle idee principali sulla memoria che possono essere rappresentate in un’opera letteraria e mostrando le forme da queste assunte all’interno della produzione di Ishiguro. Il Capitolo III presenta i romanzi oggetto della tesi, con un riassunto dettagliato, i profili dei personaggi principali, quadro spaziale e quadro temporale. Il Capitolo IV consiste nell’analisi del tema della memoria nelle due opere, prima singolarmente e poi operando un confronto. L’analisi determina come, in entrambi i romanzi, la memoria si configuri come uno strumento di repressione dell’identità e del passato delle voci narranti, che si svelano ai lettori solo involontariamente. La Conclusione riassume il lavoro svolto e, infine, Bibliografia e Sitografia concludono la tesi.
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Stacy, Ivan. "Narrative as complicity : atrocity, culpability, and failures of witnessing in W.G. Sebald and Kazuo Ishiguro." Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/3484.
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This thesis examines the nature of complicity and its relationship to narrative in the novels of W.G. Sebald and Kazuo Ishiguro. The effects of atrocity have been addressed in a significant body of scholarship which focusses on victimhood and trauma: a strand of work identifying and examining representations of perpetrators is also emerging. However, comparatively little research exists on the representation of complicity , a central concern of both Sebald and Ishiguro, in literary texts. This thesis therefore seeks to address the ways in which complicity originates, and , drawing on the attempts to theorise witnessing and testimony conducted by Shoshana Felman and Dori Laub, the ways in which narrative may act to perpetuate or deny such complicities. The thesis examines complicity on three levels. Firstly, it identifies the ways in which the authors' choice of protagonists permits an examination of complicity. Both Sebald and Ishiguro employ narrators who occupy intermediate positions, being subject to history, but possessing sufficient agency to contribute to the discourses and structures that shape the historical forces out of which atrocity grows. The first use of first person narration also makes visible a second form of complicity, which is that of the protaginists' denials of culpability. Both writers are concerned with the way I which narrative may deny or obfuscate culpability in historical events, and their use of first person narrations allows them to explore this potential. Finally, I argue that both authors display an awareness that complicity may be entered into through the acts of reading and interpretation, and as a result they employ narrative form to encourage reflexive and critical modes of reading, which in turn promote engagement with narrative as an ethical mode of witnessing.
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Quach, Melissa. "The Complexity of Love and Friendship in Kazuo Ishiguro's Never Let Me Go:An Actantial Analysis." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-48010.
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The present essay undertakes a structuralist analysis of Kazuo Ishiguro's novel Never Let Me Go, drawing upon the actantial analysis of plot developed by A. J. Greimas, as developed by Louis Hébert. My central claim is that the plot revolves around the protagonist's contradictory desire to find love with her childhood friend Tommy, while at the same time retaining her friendship with another childhood friend, Ruth. The essay suggests that this contradiction contributes to the complex plot where the characters' actantial functions shift frequently. Furthermore, the essay makes a distinction between two different perspectives, namely Kathy's as protagonist, and Kathy's as narrator. This distinction elucidates how narration in Never Let Me Go affects the plot.
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Altgård, Anton. "The Constant Butler : Role Strain and Role Confusion in Kazuo Ishiguro's The Remains of the Day." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-18011.
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Although various approaches to psychotherapy have been applied to The Remains of the Day in the aforementioned analyses, none have linked it to Role Theory, as defined in the context of Psychodrama. However if the abnormal importance that Stevens attributes to becoming a perfect butler is taken into account, The Remains of the Day is practically saturated with textual evidence of how social role imbalance is the source of Stevens’ dilemmas both in the narrated and the narrating time. Although whether it was Ishiguro’s intention to create this effect is unclear, the setting of the novel in a world that is transitioning from the war eras to modernity moreover fits in all too well with the sociological aspects of Role Theory. In brief, it has been proposed that changes in society that render certain social roles obsolete put pressure on the individuals that hold these roles to either adapt or renew themselves in pace with societal developments. Stevens, being a butler, would have felt such strain acutely, being that the decline of the great British houses over the aforementioned period led to a sharp decline in domestic service professions at the time. (Lee, 1988)Drawing upon both the Psycho-dramatic and the Sociologic aspects of Role Theory, this paper aims first of all to propose that Ishiguro’s main character in The Remains of the Day suffers from an over-developed occupational role, which has eliminated or at the very least marginalized his other social roles. Secondly it will argue that the latter’s’ reflections that are brought about over the course of the plot are a consequence of role strain, which as a palpable yet indirect plot element forces him realize that his occupational role is slowly but steadily becoming a thing of the past. In facing such a fate, he is in turn forced to confront how his extreme commitment to his job has left the rest of his life empty, for which he begins to look back at and reconsider the roles that he could have had but neglected in life. On top of outlining this approach to rationalizing the events of the novel, the paper will theorize upon that in choosing to tell such a story, Ishiguro is promoting a view of the world as a place in constant motion, in which, like the post-modernist perspective, there are no set or universal values that withstand the test of time. Juxtaposed against the satirical undertones of the novel, as well as against the time period in which it is set, this statement will in turn be interpreted as critique against the destructive qualities of conventions in society.
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Greijdanus, Wouter. "Exploring Unease : A Study of How Unease is Produced in Kazuo Ishiguro’s Never Let Me Go." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-37028.
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This paper deals with the novel Never Let Me Go by Kazuo Ishiguro and explores the feeling of unease established by the author. The theoretical framework for this paper is based on questions of humanity and thus makes use of existentialism as established by Sartre and Kierkegaard. Initially the essay explores how the setting of the novel helps establish a familiar world with unfamiliar elements. After that questions of humanity are raised and how these questions relate to the clones by showing that the clones have human qualities yet are not treated as human. These questions are expanded in the following part about ethical issues and it is shown that the reader is tempted by the author to cross certain ethical boundaries leading to a feeling of unease. Special attention is given to freedom of choice in the third part of the analysis and it is shown how the choices of the clones are very limited, especially if they are considered human. The fourth part then discusses the narrative perspective and how the narrator Kathy H. is used by the author to establish a connection and a perception of the narrator as human.
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van, Bever Donker Vincent. "Ethics and recognition in postcolonial literature : reading Amitav Ghosh, Caryl Phillips, Chimamanda Adichie and Kazuo Ishiguro." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:368d90cc-f186-4e26-a749-64b717758320.
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This thesis undertakes a critical study of ethics in the postcolonial novel. Focusing on four authors, namely Amitav Ghosh, Chimamanda Adichie, Caryl Phillips, and Kazuo Ishiguro, I conduct a comparative analysis of the ethical engagement offered in a selection of their novels. I argue that the recognitions and related emotional responses of characters are integral to the unfolding of these novels’ ethical concerns. The ethics thus explored are often marked by the complexity and impurity characteristic of the tragic – an impurity which is productively thought together with Jacques Derrida’s understanding of “radical evil”. I arrive at this through deploying an approach to ethics in the postcolonial novel that is largely drawn from the work of Martha Nussbaum, David Scott, and Terence Cave. This approach is attentive to both the particular contexts in which the novels’ ethical concerns unfold, as well as the general ethical questions in relation to which these can be understood. Crucial to this is the concept of anagnorisis, that is, the recognition scene. Functioning as both a structural and a thematic element, it serves as a hinge between the general and the specific ethical considerations in a novel. There are three ethical themes that I consider across the thesis: the ethics of remembrance, the human, and religion. The works of these four authors cluster around these concerns to differing degrees and with differing perspectives. What emerges is that while each engagement is focused on the particular details that the novel represents, the range of perspectives can nevertheless be productively read alongside one another as interventions into these general concerns. Following from this I also conclude that as a suitable, if not privileged, form in which to engage questions of the ethical, the postcolonial novel hosts the ethical difficulty that I name as the tragic, and which is characterised by the term radical evil.
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Jang, Seon Hee. "Interpretation of Extended Techniques in Unaccompanied flute Works by East-Asian Composers: Isang Yun, Toru Takemitsu, and Kazuo Fukushima." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275917772.
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Salii, Helena. "Teaching Kazuo Ishiguro’s The Remains of the Day : A Theoretical Essay Towards Cross-Curricular, DualCoded Historical Knowledge." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-40764.
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In a suggestion to build upon students’ historical knowledge through reading The Remains of the Day, this essay delves into cross-curricular teaching, dual-coded theory aspects and revision of suggested plans to improve learner’s understanding of historical novels, characters, events, and descriptions to grasp and reflect upon such historical knowledge. Several methods for enhancing students’ knowledge and to improve vocabulary knowledge are provided. The essay is theoretically based and presents different aspects of how students’ knowledge of English and history as separate subjects in school, could be combined to address the learning abilities of all students. Reading comprehension is mainly based upon students’ prior knowledge. Therefore, this essay delves into various parts of learners’ abilities to reflect upon the written word and its significance to reality. Furthermore, suggestions to how teachers can collaborate to achieve an improved understanding of the novel and its time period through history and vocabulary is presented.
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Fauconnier, Brice. "Le processus de formation de 《l'espace discursif marxiste》: autour de Yamakawa Hitoshi, Fukumoto Kazuo et Tosaka Jun." Kyoto University, 2008. http://hdl.handle.net/2433/123899.
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Kyoto University (京都大学)0048
新制・課程博士
博士(人間・環境学)
甲第14063号
人博第420号
新制||人||104(附属図書館)
19||人博||420(吉田南総合図書館)
UT51-2008-F455
京都大学大学院人間・環境学・環境学研究科共生文明学専攻
(主査)教授 稲垣 直樹, 教授 松田 清, 准教授 多賀 茂, 准教授 森本 淳生
学位規則第4条第1項該当
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Mendonça, Juliana Silva Cunha de. "Um tigre na sala: uma leitura de Os Vestígios do Dia." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-26022019-110419/.
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A presente dissertação busca oferecer uma leitura do romance Os Vestígios do Dia, de Kazuo Ishiguro, partindo do pressuposto de que o entendimento da obra requer um olhar sob quatro ângulos temporais: o presente da narrativa (1956, ano da Crise de Suez); a época em que se localiza cada fato narrado (em geral, o período entreguerras); uma espécie de passado mítico de uma Grande Inglaterra ao qual o narrador se referencia internamente; e o ano da recepção imediata da obra (1989, ano da queda do Muro de Berlim, embora o livro tenha sido publicado meses antes desse acontecimento). Segundo esta leitura, o romance consistiria em uma espécie de obra de fim de século que lançaria um olhar de estranhamento para o século XX a partir da perspectiva de um narrador que se vincula a valores anteriores a isso e de um leitor que avalia tanto esse narrador quanto seus oponentes de 1956 com o privilégio de uma distância temporal que criaria um efeito de ironia dramática.This dissertation seeks to offer an interpretation of Kazuo Ishiguros novel The Remains of The Day based on the assumption that understanding the work requires viewing it from four temporal angles: the narrative present (1956, the year of the Suez Crisis); the time in which each narrated fact is located (the interwar period, in most cases); a sort of mythical past of a Great Britain to which the narrator refers inwardly; and the year of the immediate reception of the work (1989, the year of the fall of the Berlin Wall, though the book is published several months before the USSR falls apart). According to this reading, the novel would consist of a kind of fin-de-siècle work that throws a look of estrangement upon the twentieth century from the perspective of a narrator who is linked to values prior to this time and a reader who looks at both this narrator and his opponents in 1956 with the privilege of a temporal distance that end up creating an effect of dramatic irony.
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Spark, Gordon Andrew. "A matter of time? : temporality, agency and the cosmopolitan in the novels of Kazuo Ishiguro and Timothy Mo." Thesis, University of Dundee, 2011. https://discovery.dundee.ac.uk/en/studentTheses/17fdc252-d52a-4df7-a334-f54ade6f34f3.
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The emergence of novelists such as Kazuo Ishiguro and Timothy Mo in the final decades of the twentieth century has often been taken as evidence of an increasing multiculturalism both in Britain and the wider world, as well as in British literature itself. With their dual British-Asian heritage and their interrogation of notions of history, identity and agency, these authors are often celebrated as proponents of the cosmopolitan novel, a genre which rejects binary notions of East and West or national interest in favour of a transnational mode of cooperation and cohabitation. Reading against the grain of such celebratory notions of the cosmopolitan, this thesis suggests that if the novels of Ishiguro and Mo are concerned with the exigencies of the cosmopolitan world, then they portray that world as one which remains split and haunted by divisions between East and West, past and present, self and ‘other’. That is, they present a cosmopolitan world in which the process of negotiation and contact is difficult, confrontational and often violent. Drawing upon Fredric Jameson’s notion of the ‘political unconscious’, I suggest that these novels in fact reveal the origins of the rather deeper divisions which have emerged in the first decade of the twenty first century, analysing the ways in which they reveal a degree of cultural incommensurability, frustrated cosmopolitan agency and the enduring power and appeal of the nation state. I also suggest that the contemporary critical obsession with the spatial – whereby cosmopolitanism’s work is carried out in ‘Third Spaces’, interstitial sites, and border zones – fails to recognize the importance of temporal concerns to the experience of cosmopolitan living. My analysis of the novels of Ishiguro and Mo is thus concerned with the way in which the temporal is a key concern of these works at both a narratological and thematic level. In particular, I identify a curious ‘double-time’ of cosmopolitanism, whereby the busyness which we might expect of the period is counterpointed by a simultaneous sense of stasis and inactivity. I argue that it is within this unsettling contemporary ‘double-time’ that the cracks and fissures in the narrative of cosmopolitanism begin to emerge.
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McLeod, John Martin. "Rewriting history : postmodern and postcolonial negotiations in the fiction of J.G. Farrell, Timothy Mo, Kazuo Ishiguro and Salman Rushdie." Thesis, Online version, 1995. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.393234.
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Siefert-Pearce, Catherine Elizabeth. "Cultural Trauma and Narratives of Silence in Kazuo Ishiguro's Never Let Me Go and The Remains of the Day." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/theses/2313.
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The idea of witnessing through the lense of cultural trauma is one which has been described by Dominick LaCapra and others as a encompassing and far reaching from the private to the public spheres. In some cases, when trauma is so overwhelming, the response is to remain silent and do nothing to acknowledge acceptance of the causing factors of the cultural trauma. Novelists such as Kazuo Ishiguro employ various methods of discussing cultural trauma in their works. Ishiguro’s novels, Never Let Me Go and The Remains of the Day harbor narrators whose inner traumas reflect the trauma of the culture at large. The silent spaces in these novels arise in situations where the extreme measures taken by governing entities is also clearly stated, particularly in their discussions of the Holocaust and World War II.