This paper explores the cross-cultural dynamics and contradictions that surface when attempting to apply the universal claims of Marxist literary aesthetics to the particular case of a non-Western national tradition. More specifically, the key work of 1930s proletarian writer, Kobayashi Takiji (“The Factory Ship”) and his mentoring relationship to Marxist critic, Kurahara Korehito, will be analyzed by examining the tensions in trying to remain faithful to the universal, international claims of global Marxism, while also respecting Japanese historical and cultural particulars and conditions. Broadly speaking, the issues that surface in the Kobayashi/Kurahara relationship reflect inherent difficulties in maintaining metanarrative dimension of orthodox Marxism that belies its Western framework regarding world historical movements. The tension between the universal and particular poles of Marxism’s global vs Japanese context also frames parallel tension between the literary/aesthetic realm of art and its political content; remaining true to the former may bracket the assumed-to-be applicable state of the latter. In short, the question of the viability of a particular work of fiction’s realism (namely, its literariness) vs its fidelity to political orthodoxy, often articulated in terms of its form versus content. Finally, this tension between the universal global and particular national culture setting of Marxist literature and Marxist politics also may indicate a tension inherent within the revolutionary ambitions of idealist philosophy, namely Hegelianism. Stated differently, is Marxist philosophy itself a work of art/fiction – the utopic impulse of the classless society and worldwide revolution – at odds with the realities of specific historical and cultural conditions ‘on the ground’?
| Published in | International Journal of Literature and Arts (Volume 11, Issue 2) |
| DOI | 10.11648/j.ijla.20231102.11 |
| Page(s) | 56-64 |
| Creative Commons |
This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited. |
| Copyright |
Copyright © The Author(s), 2024. Published by Science Publishing Group |
Japan, Metanarrative, Realism, Western Marxism, Aesthetics
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| [12] | Kobayashi Takiji, trans. Frank Motufuji, ‘The Factory Ship’ and ‘The Absentee Landlord.’ Seattle: University of Washington Press, 1973. P. xxv. |
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APA Style
Michael Tadashi Sugimoto. (2023). Marxist Realism: Kobayashi Takiji and the Politics of Representation. International Journal of Literature and Arts, 11(2), 56-64. https://doi.org/10.11648/j.ijla.20231102.11
ACS Style
Michael Tadashi Sugimoto. Marxist Realism: Kobayashi Takiji and the Politics of Representation. Int. J. Lit. Arts 2023, 11(2), 56-64. doi: 10.11648/j.ijla.20231102.11
AMA Style
Michael Tadashi Sugimoto. Marxist Realism: Kobayashi Takiji and the Politics of Representation. Int J Lit Arts. 2023;11(2):56-64. doi: 10.11648/j.ijla.20231102.11
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Download@article{10.11648/j.ijla.20231102.11,
author = {Michael Tadashi Sugimoto},
title = {Marxist Realism: Kobayashi Takiji and the Politics of Representation},
journal = {International Journal of Literature and Arts},
volume = {11},
number = {2},
pages = {56-64},
doi = {10.11648/j.ijla.20231102.11},
url = {https://doi.org/10.11648/j.ijla.20231102.11},
eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20231102.11},
abstract = {This paper explores the cross-cultural dynamics and contradictions that surface when attempting to apply the universal claims of Marxist literary aesthetics to the particular case of a non-Western national tradition. More specifically, the key work of 1930s proletarian writer, Kobayashi Takiji (“The Factory Ship”) and his mentoring relationship to Marxist critic, Kurahara Korehito, will be analyzed by examining the tensions in trying to remain faithful to the universal, international claims of global Marxism, while also respecting Japanese historical and cultural particulars and conditions. Broadly speaking, the issues that surface in the Kobayashi/Kurahara relationship reflect inherent difficulties in maintaining metanarrative dimension of orthodox Marxism that belies its Western framework regarding world historical movements. The tension between the universal and particular poles of Marxism’s global vs Japanese context also frames parallel tension between the literary/aesthetic realm of art and its political content; remaining true to the former may bracket the assumed-to-be applicable state of the latter. In short, the question of the viability of a particular work of fiction’s realism (namely, its literariness) vs its fidelity to political orthodoxy, often articulated in terms of its form versus content. Finally, this tension between the universal global and particular national culture setting of Marxist literature and Marxist politics also may indicate a tension inherent within the revolutionary ambitions of idealist philosophy, namely Hegelianism. Stated differently, is Marxist philosophy itself a work of art/fiction – the utopic impulse of the classless society and worldwide revolution – at odds with the realities of specific historical and cultural conditions ‘on the ground’?},
year = {2023}
}
TY - JOUR T1 - Marxist Realism: Kobayashi Takiji and the Politics of Representation AU - Michael Tadashi Sugimoto Y1 - 2023/03/03 PY - 2023 N1 - https://doi.org/10.11648/j.ijla.20231102.11 DO - 10.11648/j.ijla.20231102.11 T2 - International Journal of Literature and Arts JF - International Journal of Literature and Arts JO - International Journal of Literature and Arts SP - 56 EP - 64 PB - Science Publishing Group SN - 2331-057X UR - https://doi.org/10.11648/j.ijla.20231102.11 AB - This paper explores the cross-cultural dynamics and contradictions that surface when attempting to apply the universal claims of Marxist literary aesthetics to the particular case of a non-Western national tradition. More specifically, the key work of 1930s proletarian writer, Kobayashi Takiji (“The Factory Ship”) and his mentoring relationship to Marxist critic, Kurahara Korehito, will be analyzed by examining the tensions in trying to remain faithful to the universal, international claims of global Marxism, while also respecting Japanese historical and cultural particulars and conditions. Broadly speaking, the issues that surface in the Kobayashi/Kurahara relationship reflect inherent difficulties in maintaining metanarrative dimension of orthodox Marxism that belies its Western framework regarding world historical movements. The tension between the universal and particular poles of Marxism’s global vs Japanese context also frames parallel tension between the literary/aesthetic realm of art and its political content; remaining true to the former may bracket the assumed-to-be applicable state of the latter. In short, the question of the viability of a particular work of fiction’s realism (namely, its literariness) vs its fidelity to political orthodoxy, often articulated in terms of its form versus content. Finally, this tension between the universal global and particular national culture setting of Marxist literature and Marxist politics also may indicate a tension inherent within the revolutionary ambitions of idealist philosophy, namely Hegelianism. Stated differently, is Marxist philosophy itself a work of art/fiction – the utopic impulse of the classless society and worldwide revolution – at odds with the realities of specific historical and cultural conditions ‘on the ground’? VL - 11 IS - 2 ER -
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