Flipped Learning Activity: An Artist of the Floating World

 An Artist of the Floating World

This blog is written as a flipped learning task assigned by the head of the Department of English (MKBU), Prof. and Dr. Dilip Barad Sir. Here is the link to the professor's research article for background reading: Click hear.

Here is the link to the blog: Click hear.

video 1 : About the Author

The video is a lecture discussing Kazuo Ishiguro, his background, and his novel An Artist of the Floating World. Key points include:

About the Author:

Kazuo Ishiguro, born in Japan in 1954 and brought up in Britain, is a Japanese-born British novelist. His work is noted for blending regret with a subtle optimism, largely influenced by his experience of being uprooted from his native culture.

Literary Style & Themes:

Ishiguro’s narratives often explore memory, nostalgia, and the regret linked with past deeds. Unlike the absolute pessimism seen in novels like Orwell’s 1984, Ishiguro’s work carries a tone of subtle optimism, revealing hidden depths beneath our outward sense of connection.

Novel Overview:

An Artist of the Floating World is set in post-war Japan and follows Masuji Ono, an elderly artist who reflects on his career as a propagandist for imperialist ideology. The narrative examines the impact of westernization on Japan and uses Ono’s retrospective account to explore themes of personal and cultural memory.

Narrative Perspective:

The lecture highlights the concept of the unreliable narrator, emphasizing how Ono’s status as an outsider (shaped by his migration and cultural displacement) provides a unique lens. This perspective is compared to other literary and cinematic examples where an external viewpoint uncovers aspects that insiders might miss.

Cultural Context:

The discussion extends to how diaspora writers, like Ishiguro, bring fresh insights into their ancestral cultures, contrasting with writers who remain within their native cultural contexts. This "outsider" viewpoint is seen as both limited and enriching, as it can reveal forgotten or overlooked cultural truths.

Overall, the lecture sets the stage for a deeper exploration of Ishiguro’s thematic concerns and narrative techniques, with plans to discuss thematic analysis in a follow-up session.

Video 2 : Title Explained

The recording is a lengthy, impassioned presentation in Hindi that critiques the role of art, media, and politics in today's changing world, using the title “An Artist of the Floating World” as a springboard. Key points include:

 Title & Identity:

 – The speaker repeatedly questions the meaning of the title and phrases like “the best” in the context of an introductory presentation.

 – It asks what “the state of the world” means, referring to names like “Suji” as symbolic markers of evolving artistic and cultural identities.

 Art, Artists, and Memory:

 – The presentation suggests that old artists revisit their childhood memories and past works, hinting at a transformation from art for mere aesthetic pleasure (the floating world) to art that engages with social and political realities.

 – The discussion alludes to the evolution of art—from traditional expressions to those that may serve nationalist or imperialist agendas.

 Political & Cultural Critique:

 – The speaker criticizes political leaders and the influence of hegemonic power—using references to figures like Hirohito, “Big Brother,” and American companies (e.g., Twitter)—to highlight how language and media manipulate public opinion.

 – There is an emphasis on how nationalism, when used as a tool for political control, leads to destructive outcomes, especially when tied to imperialism and a misguided sense of national interest.

 Digital Media & Subscription Culture:

 – Repeated calls to “subscribe” and references to digital channels underline a critique of modern media’s role in reinforcing these hegemonic narratives.

 – The presenter suggests that the digital world creates an illusion of connectivity while masking deeper cultural and political voids.

 Underlying Message:

 – Overall, the talk warns that the current blend of imperialism, nationalism, and digital manipulation is causing societal and cultural decay.

 – The speaker urges listeners to critically examine the language and symbols that shape national identity and to recognize how art and media can either expose or reinforce these destructive forces.

Video 3 :Characters and Narrative Strategy

The session is an in-depth lecture on the characters, plot, and narrative strategy in Kazuo Ishiguro’s An Artist of the Floating World. Key factual points include:

 Central Character & Narration:

- The protagonist and narrator is Masuji Ono, who is also the titular artist.

- His first-person narrative, marked by frequent digressions and self-admitted “drifting,” renders him an unreliable narrator-a hallmark of postmodern storytelling that leaves the reader questioning the truth behind his account.

Plot Overview & Key Incidents:

- The narrative begins with Masuji Ono describing how he was offered a costly house by the family of the late Akira Sugimura, based on his reputation as a celebrated artist-akin to a matchmaking process where only the most “desirable” is chosen.

-However, as the story unfolds, it becomes apparent that his once-revered paintings are now met with regret and disapproval, exposing the gap between his perceived greatness and reality.

-A central plot thread involves the failed matchmaking negotiations for his daughter Norika’s marriage. Satsuko (his daughter) is deeply concerned that his tarnished reputation, stemming from his past nationalistic and imperialistic associations, might negatively affect family alliances and future prospects.

 Family Dynamics & Consequences:

- Masuji Ono’s personal life is burdened by tragedy: his wife (Michiko) and his son (Kanji), who joined the military, are both dead. These losses are linked to his political and nationalistic choices, further complicating his legacy.

- His interactions with family members, such as Satsuko, highlight the generational tension and the personal cost of his artistic and political decisions.

 Educational & Professional Relationships:

- As an artist, Ono was initially trained by the esteemed painter Seiji Muriyama in the ukiyo-e tradition (art for aesthetic pleasure). Later, as a teacher himself, he mentors students like Kuroda and Shintaro.

- The narrative reveals conflicts with his student-especially Kuroda-stemming from Ono’s later transformation into a pro-government agent who reports on dissenting views, a move that damages his standing and leaves him with deep regret.

 Multiple Dimensions of Art:

-The lecture outlines how art in the novel is presented in various dimensions:

  1. Art for Aesthetic Delight: Traditional ukiyo-e focused on pleasure and beauty.

  2. Art for Business Purposes: Fast, commercial painting that serves capitalist needs.

  3. Art for National Interest: Art repurposed to support imperialistic and nationalistic agendas.

  4. Art for the Poor: A shift from aesthetic indulgence to depicting social realities, which then becomes co-opted for war propaganda.  - This evolution reflects how the artist’s role can shift from a creator of beauty to an agent of political influence.

Overall Themes & Narrative Technique:

- The unreliable narration is central to the novel, as Ono’s fragmented recollections and self-contradictions force readers to question the validity of his account.

-The lecture emphasizes that it is not just the story itself, but the manner in which it is told that holds significance-highlighting the deceptive, self-serving, and often regretful nature of Ono’s memories.

In conclusion, the session underscores how the interplay of personal tragedy, artistic evolution, and political complicity forms the core of the novel’s plot, while the unreliable narrative strategy keeps the true nature of Masuji Ono’s legacy shrouded in ambiguity.

Video 4 : Thematic Study of the Novel

The video is an in-depth lecture on the themes in Kazuo Ishiguro’s An Artist of the Floating World. Key points include:

Central and Peripheral Themes:

The lecturer explains how the novel’s title reflects multiple layers of meaning. Masuji Ono, the protagonist and unreliable narrator, initially aspires to be an artist for the floating world—but later drifts toward using his art for nationalism, business, or even to give voice to the poor. His shifting role exposes the deceptive nature of his narration and raises questions about the truthfulness of his memory.

Marriage and Social Expectations:

The narrative uses the failed marriage negotiations for his daughter Norika as a catalyst for revisiting Masuji Ono’s past. In a traditional Japanese society, these negotiations carry heavy social implications, revealing both personal regret and the impact of his earlier political and artistic choices.

Multiple Dimensions of Art:

The lecture breaks down art’s role into several aspects:

Art for Aesthetic Pleasure: Creating beauty for its own sake (the traditional ukiyo-e style).

Art for Business: Producing art quickly for commercial gain.

Art for Nationalism: Using art as a tool for patriotic or imperial propaganda.

Art for the Poor: A transition toward representing the underprivileged.

The speaker warns that while art can serve many purposes, it becomes dangerous if used as a hegemonic tool for manipulation.

Unreliable Narration and the Deceptiveness of Language:

The lecturer emphasizes that the novel’s narrative strategy—its first-person, unreliable narrator—is central to its impact. This approach challenges readers to question the completeness and honesty of the story being told, reflecting a broader skepticism about the power and manipulation of language in political discourse.

Intergenerational Conflict and Pedagogy:

The discussion also touches on the tension between different generations. While Masuji Ono’s generation was driven by nationalistic fervor, the younger generation is portrayed as more Westernized and pragmatic. Additionally, the lecture examines the paradoxical relationship between teachers and students in the art world, suggesting that authority figures can both nurture and later betray their protégés.

Contemporary Relevance:

Finally, the lecturer notes that the themes of unreliable language, nationalism, and the ethical use of art remain relevant today, drawing parallels with modern examples of political rhetoric and traditional societal expectations.

Overall, the lecture uses these thematic explorations to conclude the course discussion on the novel, emphasizing how Ishiguro’s narrative style and thematic concerns continue to provoke thought about art, memory, and political influence.

Video 5 : Reading Important Passages from the Novel

The video is a comprehensive lecture that interweaves close readings of key passages with a broader thematic discussion of Kazuo Ishiguro’s An Artist of the Floating World. The lecturer covers two main aspects:

1. Reading and Narrative Technique:

The session begins by reading important excerpts from the novel, noting its division into four parts by dates (October 1948, April 1949, November 1949, and June 1950).

A significant focus is on the use of first-person narration. The protagonist Masuji Ono repeatedly addresses an unspecified “you”-a reader or listener-to evoke sympathy and guide how he wishes to be remembered.

This narrative style is marked by digressions, memory gaps, and self-contradictions, which are used to illustrate the idea of the unreliable narrator. The lecturer even references Wayne C. Booth’s concept from The Rhetoric of Fiction to explain why Masuji Ono’s account is inherently deceptive.

2. Thematic Concerns:
Transformation of Art:

The discussion details how Ono’s artistic journey shifts-from initially celebrating the fleeting pleasures of the “floating world” to eventually portraying poverty and then embracing nationalist, warlike imagery. This evolution reflects his internal conflict and regret over the misuse of art as a tool for propaganda.

Nationalism and Regret:

The lecture delves into how Ono’s earlier nationalistic zeal, which once earned him admiration (such as acquiring a grand house due to his reputation), ultimately becomes a source of public and personal disillusionment. His recollections reveal deep remorse for having contributed to war efforts and for the personal betrayals he committed, notably in his dealings with his students and his role as a government informant.

Intergenerational Conflict and the Power of Language:

The speaker highlights how traditional societal expectations-exemplified by the marriage negotiations and family pressures-interact with the broader political and cultural shifts in post-war Japan. The discussion extends to the idea that language can be manipulative, and the unreliable narrative reminds us to question the veracity of what is said.

Historical Context and the Artist’s Role:

Throughout, the lecture emphasizes that an artist’s vision should be informed by a broader historical perspective. The narrow, self-centered focus of Ono (and by extension, of artists who succumb to nationalist fervor) is critiqued for its failure to grasp the larger, often tragic, historical realities.

In summary, the lecture uses close textual analysis and thematic exploration to argue that An Artist of the Floating World is not just about the changing fortunes of one artist, but a meditation on memory, responsibility, and the dangerous power of language in shaping national identity.

References:

-Barad, Dilip. "About the Author." YouTube, uploaded by Dr. Dilip Barad,
https://youtu.be/_Zd6XLLyGvg.
-Barad, Dilip. "Characters and Narrative Strategy." YouTube, uploaded by Dr. Dilip Barad,
https://youtu.be/z1EhasEkeZ4.
-Barad, Dilip. "Reading Important Passages from the Novel." YouTube, uploaded by Dr. Dilip
Barad, https://youtu.be/-WoqKO3hHlc.
-Barad, Dilip. "Thematic Study of the Novel." YouTube, uploaded by Dr. Dilip Barad,
https://youtu.be/Y45Swhri1Fc.
-Barad, Dilip. "Title Explained." YouTube, uploaded by Dr. Dilip Barad,
https://youtu.be/htKqgRreDtg.

- Ishiguro, Kazuo. An Artist of the Floating World. Faber and Faber, 2009.