Journal articles: 'Kazuo Ishiguro'

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King, Bruce, and Cynthia F. Wong. "Kazuo Ishiguro." World Literature Today 76, no. 1 (2002): 158. http://dx.doi.org/10.2307/40157103.

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King, Bruce, and Barry Lewis. "Kazuo Ishiguro." World Literature Today 76, no. 3/4 (2002): 100. http://dx.doi.org/10.2307/40157643.

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Charlwood, Catherine. "“Stop … and Remember”: Memory and Ageing in Kazuo Ishiguro’s Novels." American, British and Canadian Studies 31, no. 1 (December 1, 2018): 86–113. http://dx.doi.org/10.2478/abcsj-2018-0018.

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Abstract This article foregrounds representations of ageing and memory within Kazuo Ishiguro’s novels, particularly Never Let Me Go (2005) and, the less critically considered, The Buried Giant (2015). While criticism and reviews touch upon themes of ageing, loneliness, and loss of bodily function, scholars are yet to reveal either the centrality of this to Ishiguro’s work or how this might speak to real-life questions surrounding ageing. Few readers of Never Let Me Go realise that in writing it Ishiguro’s guiding question was ‘how can I get young people to go through the experience of old people’? The arguments here seek to restore such authorly intentions to prominence. Ishiguro is more interested in socio-cultural meanings of ageing than biologically impoverished memories: this article examines the shifting relationships Ishiguro presents between memory and age as regards what happens to the ways in which memories are valued, and how people might be valuable (or not) for their memories. Interdisciplinary with age studies and social gerontology, this article demonstrates how Ishiguro both contributes to, and contends with, socially constructed concepts of ageing. In refocusing Ishiguro criticism onto reminiscence rather than nostalgia, this article aims to put ageing firmly on the agenda of future research.

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Holmes, Chris, and Kelly Mee Rich. "On Rereading Kazuo Ishiguro." MFS Modern Fiction Studies 67, no. 1 (2021): 1–19. http://dx.doi.org/10.1353/mfs.2021.0000.

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YILDIZ, Fırat. "Kazuo İshiguro Romanlarında Sıradanlığın Yüceltilmesi." International Journal of Languages' Education 1, Volume 5 Issue 4 (January 1, 2017): 476–83. http://dx.doi.org/10.18298/ijlet.2374.

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Mason, Gregory, and Kazuo Ishiguro. "An Interview with Kazuo Ishiguro." Contemporary Literature 30, no. 3 (1989): 335. http://dx.doi.org/10.2307/1208408.

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Shaffer, Brian W., and Kazuo Ishiguro. "An Interview with Kazuo Ishiguro." Contemporary Literature 42, no. 1 (2001): 1. http://dx.doi.org/10.2307/1209082.

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Liu, Tingxuan. "Ambivalence of Cosmopolitanism: A Study of Kazuo Ishiguro’s Writing." Journal of Language Teaching and Research 12, no. 4 (July 1, 2021): 611–15. http://dx.doi.org/10.17507/jltr.1204.12.

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Although labeled as an immigrant writer, Ishiguro is not a typical one. His writing is not a repetition or successor of the diasporic literature. The various subjects and diversified locations of his works have been appropriately corresponded to his claim as “a kind of homeless writer”. He has always been locating himself in different cultures as well as engaged in a de-cultural writing, providing insights into the relationship between the subjective and the other, which shows his ambivalence dangling between different cultures. It is arguable that Ishiguro has several “deaths” before becoming a cosmopolitan. Nevertheless, the “killed” identity is inextirpable. The longing for subjectivity in his novels does not directly come from the cosmopolitan identity with whom he identified. Reading Ishiguro in the global context enables the detection of his compromise as a cosmopolitan writer constructed by a deliberate de-privileging and cultural alienation. Cosmopolitanism itself has been a paradoxical term in that its orientation points to the mutually inclusive “world” and “region”. Its implication is full of irreconcilable resistance and negotiation. The study is going to explore the ambivalence of cosmopolitanism in Ishiguro’s writing, to trace the progress of the making of the novelist as a cosmopolitan as well as embracing multiple cultures but denies clear boundaries, and to widen the scope of the discussion of globalization, localization, diasporic study, or postcolonial study.

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Emara, Maha Abdel Moneim. "Kazuo Ishiguro’s The Remains of the Day: A Historiographical Approach." English Language and Literature Studies 5, no. 4 (November 30, 2015): 8. http://dx.doi.org/10.5539/ells.v5n4p8.

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<p>This paper attempts to analyze Kazuo Ishiguro’s <em>The Remains of the Day</em>, in the light of various ramifications of postmodern critical historiographical approaches. It investigates the different narrative strategies Ishiguro uses to narrate historical events and dismantle objectivity mainly; backshadowing, intermixing of historical and personal incidents, and first-person unreliable narrator. Great deal of Ishiguro’s text depth and complexity arises from the unreliability of the narrator whose narration presents several interpretive versions and controversial issues.</p>

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qizi, Irsaliyeva Madina Anvarbek, Abrarova Sardora Najmiddin qizi, and Xoliqova Nazokat Batirovna. "Kazuo Ishiguro as an international novelist." ACADEMICIA: An International Multidisciplinary Research Journal 11, no. 3 (2021): 2595–98. http://dx.doi.org/10.5958/2249-7137.2021.01006.5.

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DAMROSCH, David. "Kazuo Ishiguro as a World Writer." TRENDS IN THE SCIENCES 23, no. 2 (February 1, 2018): 2_82–2_87. http://dx.doi.org/10.5363/tits.23.2_82.

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Wong, Cynthia F. "Book review: Kazuo Ishiguro and memory." Memory Studies 8, no. 4 (September 2, 2015): 487–89. http://dx.doi.org/10.1177/1750698015592202.

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Lupack, Alan. "The Buried Giant by Kazuo Ishiguro." Arthuriana 25, no. 3 (2015): 118–20. http://dx.doi.org/10.1353/art.2015.0034.

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Ramšak, Polona. "Ishiguro’s Japanese-English Identity and His Reception Internationally and in Slovenia." Acta Neophilologica 54, no. 1-2 (December 7, 2021): 99–114. http://dx.doi.org/10.4312/an.54.1-2.99-114.

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Kazuo Ishiguro is a British author of Japanese descent who has established himself globally as an award-winning writer of bestselling books. This article deals with the hybridity of the author, who is both Japanese and English, a popular writer who stirs reader emotions but is at the same time respected by critics. The article begins by addressing the ‘Japaneseness’ in Ishiguro’s work that is both obvious and skilfully concealed. In the second part, the article examines the reception of Ishiguro’s work by Slovenian readers and discusses potential reasons for their seeming lack of response.

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Dovhanych, Myroslava. "The Image of the Lost Home in the Works of Kazuo Ishiguro." Pitannâ lìteraturoznavstva, no. 100 (December 27, 2019): 25–41. http://dx.doi.org/10.31861/pytlit2019.100.025.

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The image of home has been examined and the peculiarities of the artistic interpretation of this symbol in the novels of a British novelist of Japanese origin Kazuo Ishiguro have been revealed in the article. The essence of the category “image” has been determined; the symbolic significance of home in the life of a person has been analyzed; the differences between the interpretation of the archetypal image of home within the framework of European and Japanese cultures have been indicated; the role of the house in the literary works of K. Ishiguro has been considered, which makes it possible to understand the individual style of the author more deeply. Conducted investigation proved that the image of home belongs to the central spiritual and cultural concepts in any social environment. Home comfort is the dominant of people’s life, although not always realized. The house serves as sacred space for an individual or the whole family in the novels of K. Ishiguro. The loss of one’s own safe home leads to the feeling of loneliness, hopelessness, absurdity of existence, and also transmits the mood and state of spirit of the modern era. Representation of home is closely linked with the problem of identity, since the house embodies the loss of the unity of perception of the world and one’s place in it as a result of emigration. The feature of Ishiguro’s novels is that the house personal space exists only in the memories of heroes.

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Akiyoshi, Suzuki. "How to Employ Nagasaki: Kazuo Ishiguro’s A Pale View of Hills (1982)." IAFOR Journal of Literature & Librarianship 9, no. 2 (December 14, 2020): 69–80. http://dx.doi.org/10.22492/ijl.9.2.04.

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Not a few scholars believe that representation of scenery in Nagasaki is a mockery in Kazuo Ishiguro’s novel A Pale View of Hills (1982). However, Etsuko’s narration faithfully represents individual facts about Nagasaki, but her combinations of facts are not consistent with the real world. Overall, Ishiguro’s narrative strategy is to represent as realistically as possible how a person’s memory works; at a time when rigid opposition between history and fiction collapsed as a result of the expanding literary theory of postmodernist positivism. A somewhat distorted narrative of recollections holds true not only in Etsuko but in human beings generally. If everything in the record of one’s past life is fictional, realizing how one’s memory is distorted or colored is impossible. Thus, Ishiguro wrote Etsuko’s reminiscences by faithfully describing facts of Nagasaki, for instance, nonlinguistic artifacts and relics, but making them anachronistic or discordant in time and space. This strategy resists the postmodern view of history and simultaneously emphasizes human memories’ ambiguities and distortions. Nagasaki, as a faithful background setting for Etsuko’s memories, is entirely plausible because Ishiguro was born and raised there until he was six years old. Yet, the realism of A Pale View of Hills encompasses a universal story of reminiscence or human testimony by employing the narratives of an atomic-bomb victim and a war bride.

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Mickalites, Carey. "Kazuo Ishiguro and the Remains of Empire." Critique: Studies in Contemporary Fiction 60, no. 1 (June 28, 2018): 111–24. http://dx.doi.org/10.1080/00111619.2018.1487827.

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Jaggi, Maya. "Interview: Kazuo Ishiguro talks to Maya Jaggi." Wasafiri 11, no. 22 (September 1995): 20–24. http://dx.doi.org/10.1080/02690059508589446.

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Marcus, Amit. "Kazuo Ishiguro and Memory by Yugin Teo." Partial Answers: Journal of Literature and the History of Ideas 15, no. 1 (2017): 193–96. http://dx.doi.org/10.1353/pan.2017.0012.

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Nélis, Noémie. "Kazuo Ishiguro’s gentle transgression of tradition, myths and stereotypes." English Text Construction 8, no. 1 (July 10, 2015): 1–20. http://dx.doi.org/10.1075/etc.8.1.01nel.

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The present article aims to provide a reading of Kazuo Ishiguro’s 1989 Booker Prize-winning novel The Remains of the Day that focuses on the author’s ‘gentle transgression’ of three local myths become international commodities: the myths of the English butler, the English country house and Englishness itself. It also examines how, in the process, the butler’s identity becomes an increasingly heterogeneous one, a “transindividuality” (Bessière 2010) potentially representative of a sedentary or “rooted” (Appiah 1997) form of critical cosmopolitanism. Ishiguro thus responds to the challenges of globalization, suggesting that a constantly questioned to-and-fro movement between the local and the global, each in turn enriching the other, might prevent the much-feared homogenization of cultures.

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Labrom, Alexie. "‘An Ancient Procession’: Memory, Myth and Movement in Kazuo Ishiguro’s The Buried Giant ." Journal of the International Arthurian Society 10, no. 1 (September 1, 2022): 52–72. http://dx.doi.org/10.1515/jias-2022-0005.

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Abstract The novels of Kazuo Ishiguro span a variety of literary genres but are unified by a profound interest in the workings of memory. Guided by recent scholarship in the field of cultural memory studies, this essay analyses Ishiguro’s seventh novel, The Buried Giant, in the context of the Middle English romance traditions which it echoes both formally and thematically. In doing so, it argues that the novel’s use of Arthurian myth is a technique by which to illuminate and explore the role of literature in the formation of collective memory and cultural identity.

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Nogueira, A. La Guardia. "NOTAS SOBRE UMA LEITURA DA OBRA DE KAZUO ISHIGURO." Em Tese 5 (December 31, 2002): 11. http://dx.doi.org/10.17851/1982-0739.5.0.11-18.

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Yan, Kai. "Posthuman Biopredicament: A Study of Biodystopia in Kazuo Ishiguro’s Never Let Me Go." Theory and Practice in Language Studies 9, no. 5 (May 1, 2019): 594. http://dx.doi.org/10.17507/tpls.0905.15.

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Ishiguro’s Never Let Me Go is a novel that depicts a typical biodystopia. By recollecting the clones’ tragic experience of organ donation for the benefit of humankind, it discusses the bleak posthuman prospects of science, the double manipulation of life by power, and the metaphorical dimension of posthuman lifewriting. Ishiguro approaches the theme from the clones’ perspective, taking the clones as a metaphor to demonstrate the actual circumstances of human life, therefore the novel could be seen as a parable about human nature. This paper proposes to analyze, from the aspects of science, power and metaphorical lifewriting, Ishiguro’s unique art in creating a biodystopian narrative that reflects universal human conditions and reveals the posthuman biopredicament.

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Meghaa, M., and Shobha Ramaswamy. "A Bolt from the Blue in Kazuo Ishiguro’s The Remains of the Day." SMART MOVES JOURNAL IJELLH 8, no. 11 (November 30, 2020): 96–105. http://dx.doi.org/10.24113/ijellh.v8i11.10837.

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Kazuo Ishiguro, receiver of the Nobel Prize for Literature in the year 2017, isa Nagasaki-born writer. He developed his writing career in the year 1982 and many of his novels have historical contextual ideas. The literary attributes of Ishiguro's works are acknowledged for his uniqueness in English writing and method. It blends the sequence of the plot, to the extraordinary subjectivity of the portrayal, and to the historical sensitivity which truly interweaves with the depictions.The nostalgic and evocative characteristics of his writings make him the master of prodigious artistic works. The renowned novel of Kazuo Ishiguro, The Remains of the Day, which bagged him the prestigious Booker Prize in the year 1989, portrays the psychological niceties associated with the protagonist of the novel, Stevens. Stevens is a butler who works under an aristocrat whom he revered the most at the beginning but later he was betrayed by knowing the facts of his lordship being associated with the Nazis during the World War. Through the Trauma Theory this paper anatomizes the traumatic experiences of the mind, ramifications of thoughts and also the restrained dealings of human nature.This theory investigates the effect of trauma in writings and society, by examining its mental, logical, and social criticalness.The novel relocates the inherent presence of the theory throughplenteous incidents and contemplates on Stevens’ thoughts.

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Schneider, Ana-Karina. "Reading Kazuo Ishiguro’s “Bewilderment Trilogy” as Bildungsromane." American, British and Canadian Studies 31, no. 1 (December 1, 2018): 27–46. http://dx.doi.org/10.2478/abcsj-2018-0015.

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Abstract In this essay, Kazuo Ishiguro’s “Bewilderment Trilogy” is read as a series of Bildungsromane that test the limits of that genre. In these thematically unrelated novels, characters reach critical points in their lives when they are confronted with the ways in which their respective childhoods have shaped their grownup expectations and professional careers. In each, the protagonist has a successful career, whether as a musician (The Unconsoled), a detective (When We Were Orphans), or a carer (Never Let Me Go), but finds it difficult to overcome childhood trauma. Ishiguro’s treatment of childhood in these novels foregrounds the tension between individual subjectivity and the formal strictures and moral rigors of socialisation. In this respect, he comes close to modernist narratives of becoming, particularly James Joyce’s A Portrait of the Artist as a Young Man. Narrative strategies such as epiphanies and the control of distance and tropes such as boarding schools and journeys to foreign lands provide the analytical coordinates of my comparative study. While raising the customary questions of the Bildungsroman concerning socialisation and morality, I argue, Ishiguro manipulates narration very carefully in order to maintain a non-standard yet meaningful gap between his protagonists’ understanding of their lives and the reader’s.

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Barossi, Luana. "“Seu corpo não lhe pertence”: ciência ficção, corpo e medicina." Via Atlântica, no. 29 (September 27, 2016): 461. http://dx.doi.org/10.11606/va.v0i29.112586.

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Este artigo propõe a leitura de alguns aspectos das obras A ilha do Doutor Moreau, de H. G. Wells e Never let me go, de Kazuo Ishiguro, considerando os processos de territorialização dos corpos outros pelo saber-poder da medicina.

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Sidorova, O. "KAZUO ISHIGURO. THE WRITER IN THE ‘FLOATING WORLD’." Voprosy literatury, no. 4 (October 2, 2018): 301–18. http://dx.doi.org/10.31425/0042-8795-2018-4-301-318.

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Novels by the Nobel Prize winner in literature 2017 K. Ishiguro are analyzed chronologically, from the first novel A Pale View of Hills (1982) to the latest one The Buried Giant (2015). As the article shows, the author, who represents two cultural traditions, the Japanese and the British ones, reflects this quality in his works. The writer himself states that his works were mainly formed by the European literary tradition and, consequently, his novel The Remains of the Day has become a concentrated study of Englishness, one of the most vivid in contemporary British literature. Experimenting with traditional literary forms, Ishiguro uses the stream-of-conscience technique, elements of science fiction, fantasy, detective genres, but each of his novels is unique and is characterized by deep overtones. Some constant elements of the writer’s works are discussed: unreliable narrators, the opposition of memory and history, the special role of children and of old people in his novels, the significant role of periods before and after historic events that are omitted in his novels, and recognizable language and style – compact, reserved and precise.

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Scanlan, Margaret. "Mistaken Identities: First-Person Narration in Kazuo Ishiguro." Keeping Ourselves Alive 3, no. 2-3 (January 1, 1993): 139–54. http://dx.doi.org/10.1075/jnlh.3.2-3.03mis.

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Abstract Contemporary theorists tend to agree on the death of the subject and therefore, it seems, on the death of the first-person realistic novel. Novels like David Copperfield and Jane Eyre seem like extended metaphors for humanism itself-the outmoded view that human beings are the center of their world, that they can know themselves, that their psychology and moral character develop con-sistently, and that they are largely responsible for the courses their lives take. In two recent first-person novels, An Artist of the Floating World (1986) and The Remains of the Day (1989), Kazuo Ishiguro explores such assumptions, providing us with narrators whose selves do seem to be socially constructed and consequently decentered and unstable. Although Ishiguro fully understands and displays the appeal of posthumanist models of the subject, he ends by suggesting that a self no longer author of itself is a self in search of authority. (Cultural criticism, literary criticism)

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Saeed Alamri, Dawla. "The Remains of Empires in Kazuo Ishiguro’s The Remains of The Day." Arab World English Journal For Translation and Literary Studies 6, no. 2 (May 24, 2022): 26–42. http://dx.doi.org/10.24093/awejtls/vol6no2.2.

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This paper aims to explore how Kazuo Ishiguro has found a position of enunciation away from the conflicting sentiments of otherness between the deeply rooted traditions of both Japan and England. With a particular focus on Ishiguro’s third novel, The Remains of the Day (1989), the paper highlights the shift of the scene from Japan in his first two novels, A Pale View of Hills and An Artist of the Floating World to a purely English setting in The Remains of the Day. Drawing on the postcolonial theoretical framework, the study examines Ishiguro’s literary production grapples with universal themes. It offers ways to question the ‘national greatness’ of both empires as represented through Japanese and British voices while narrating their personal histories and traumas. The main contribution of this study lies in extending arguments on the postcolonial engagement of Ishiguro’s The Remains of the Day, by focusing on his demythologization of both Eastern and Western Empires. The paper concludes that Ishiguro’s ‘fictional’ metamorphosis serves to subvert imperial landscapes, and convert them into mythical metaphors to approach universal themes and worlds, while simultaneously finding his own voice and territory.

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Gołębiowska, Urszula. "Pamięć i zapominanie w Pogrzebanym olbrzymie Kazuo Ishigury." Er(r)go. Teoria - Literatura - Kultura, no. 40 (July 28, 2020): 117–31. http://dx.doi.org/10.31261/errgo.7660.

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Abstrakt Celem artykułu jest odczytanie najnowszej powieści Kazuo Ishigury jako refleksji pisarza nad rolą pamięci i zapominania w życiu indywidualnym i zbiorowym. Wydany w 2015 roku Pogrzebany olbrzym odnosi się do kwestii niezmiennie aktualnej, dotyczącej zarówno jednostek jak i społeczeństw próbujących uporać się z traumatyczną przeszłością. Mimo że Ishiguro nie udziela łatwych odpowiedzi na pytanie o to, czy pamiętać o trudnych wydarzeniach, czy raczej je wymazać, tymczasowa amnezja jawi się w powieści jako uzasadniony zabieg, pozwalający jednostkom utrzymać relacje, a społeczeństwom uniknąć ponownego wybuchu przemocy. Zjawisko pamięci zbiorowej, problem pamięci, która nieuchronnie powraca po okresie amnezji/amnestii i jej uwikłania w konkurujące ze sobą polityki pamięci, wzajemne powiązanie pamięci i zapominania, rola pamięci mimowolnej w podważaniu oficjalnej narracji to kwestie, które powieść porusza i które zostały omówione w artykule w odniesieniu do XX-wiecznych koncepcji i dyskursów na temat pamięci: Maurice’a Halbwachsa, Waltera Benjamina, Marcela Prousta, a także współczesnego brytyjskiego filozofa Galena Strawsona.

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Belau, Linda, and Ed Cameron. "Writing in Translationese: Kazuo Ishiguro’s The Remains of the Day and the Uncanny Dialect of the Diasporic Writer." Diaspora: A Journal of Transnational Studies 16, no. 1-2 (March 2012): 67–91. http://dx.doi.org/10.3138/diaspora.16.1-2.67.

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This essay argues that with his third novel, Kazuo Ishiguro has crafted a postcolonial work that illustrates how the crisis of decolonization is linked inextricably to the crisis of subjectivity itself. Unlike the novels of Achebe, Rushdie, and other postcolonial writers who represent colonial and postcolonial conditions by focusing on the actual postcolonial contexts, Ishiguro accomplishes his postcolonial critique by focusing more on the issue of cultural difference within the developed world than on issues explicitly resulting from the decolonizing process in the colonized parts of the world. Furthermore, his focus on the issue of cultural difference in Britain is not articulated around issues of immigration and assimilation of the other but, rather, around the internal otherness of the British subject itself. Ishiguro’s novel in effect argues that this internal otherness, always present to some degree, emerges most prominently during the breakdown of the Empire, when the traditional symbolic coordinates for British identity are weakened. Ishiguro expresses this perspective in his novel (1) by ever so faintly re-inscribing a traditional narrative form to reflect its internal strangeness or foreignness, (2) by providing an uncanny narrative documentation of the consciousness of a secondclass British subject during the height of the decolonization period, and (3) by constructing a narrative that sublimates his own unique diasporic position as a means of coming to grips with his somewhat unique and personal ethnic and cultural conflicts.

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Ridinger-Dotterman, Angela. "Precarity as Personhood in Kazuo Ishiguro’s Never Let Me Go." American, British and Canadian Studies 31, no. 1 (December 1, 2018): 65–85. http://dx.doi.org/10.2478/abcsj-2018-0017.

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Abstract Kazuo Ishiguro’s Never Let Me Go lures readers into a dystopic world that has the artifice of a country boarding school. When the characters to which readers have become attached are revealed to be clones raised for organ harvesting, the novel forces the readers to confront questions about what it means to be human, and at what cost humanity is willing to preserve itself. In this science fiction narrative about cloning, Ishiguro invokes multiple representations of the disabled body: the clones have been created, to ameliorate disability from the rest of society. Their organs are harvested to forestall the inevitable disabilities that the ailing or aging body will experience. The novel also replicates the social apparatuses that have traditionally been used to contain and eliminate disability. Reading Ishiguro’s narrative of cloning from a disability studies perspective reveals the novel’s use of defamiliarization as a literary technique to examine both the ideological constructions of disability and the physical structures that have contained disabled bodies during the nineteenth and twentieth centuries. Finally, approaching Never Let Me Go from this critical perspective reveals the novel’s answer to the central question it poses: What does it mean to be human?

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MAZULLO, MARK. "ALONE: KAZUO ISHIGURO AND THE PROBLEM OF MUSICAL EMPATHY." Yale Review 100, no. 2 (2012): 78–98. http://dx.doi.org/10.1353/tyr.2012.0028.

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MAZULLO, MARK. "ALONE: KAZUO ISHIGURO AND THE PROBLEM OF MUSICAL EMPATHY." Yale Review 100, no. 2 (March 3, 2012): 78–98. http://dx.doi.org/10.1111/j.1467-9736.2012.00786.x.

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Vorhaus, Daniel. "Review of Kazuo Ishiguro,Never Let Me Go.1∗." American Journal of Bioethics 7, no. 2 (March 2007): 99–100. http://dx.doi.org/10.1080/15265160601112451.

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Myrdzik, Barbara. "Children of “Toxic Parents”: An Attempt of Interpretation of “The Unconsoled” by Kazuo Ishiguro." Annales Universitatis Mariae Curie-Sklodowska, sectio N – Educatio Nova 6 (September 22, 2021): 281–301. http://dx.doi.org/10.17951/en.2021.6.281-301.

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The article constitutes an attempt to interpret the novel by Kazuo Ishiguro The Unconsoled – a work with a complex plot and a multi-threaded structure, typical for a composition stretched on the frame of the rhizome-like labyrinth and the motif of memory imperfections. The labyrinth is a space of strangeness, of being lost. It is a journey of the main character who wanders around various spaces of the city and hotel (which performs a variety of functions), meets many random people and listens to their accounts. The life problems of the city’s inhabitants indicate the eternal truth, according to which a man cannot live without understanding, without talking to someone kind who has the ability to listen. They were looking for someone who would listen and understand them, someone who would kindly respond to their problems. It may also be assumed that living in a world without the feeling of a lack of transcendence, the inhabitants were looking for an authority like a messiah who would indicate the direction of renewal in the world of chaos and who would answer the question: How to live? The novel describes a cultural crisis triggered by the feeling of a fundamental contradiction between the world of scientific truths and the inner world of every human being. Values such as faith, friendship, selflessness, truthfulness or family, to which Ishiguro pays a lot of attention, have been lost. “Toxic parents” are shown in multiple configurations: on the example of Ryder’s parents, or Ryder himself as the father of Boris and Stephan Hoffman. The author shows one of the major causes of the paternity crisis, namely the cult of professional success. Professional success and rivalry connected with it completely absorb Ryder’s life and activities. As a result of the pursuit of professional fulfillment, the role of emotional ties in his life becomes less significant, they almost disappear. It may be assumed that, using the example of the crisis in the described city, Ishiguro presents the contemporary world, which lost the sense of life; however, he did not limit it to the lost past. The world in which all attempts to search for a new form of expression and valorization end in failure. It is a labyrinthine, objectified world which is only given outside, a world of showing off and a “game” of pretending, without honesty and simplicity. It is a place dominated by a pose and culture of narcissism, full of inauthenticity, artificiality and appearance. In addition, The Unconsoled is a poignant novel about human loneliness.

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Brent, Jonathan. "Violence, Memory, and History: Geoffrey of Monmouth and Kazuo Ishiguro’s The Buried Giant." Cambridge Journal of Postcolonial Literary Inquiry 8, no. 3 (September 2021): 323–44. http://dx.doi.org/10.1017/pli.2021.17.

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Kazuo Ishiguro has suggested that his work of medieval fantasy, The Buried Giant (2015), draws on a “quasi-historical” King Arthur, in contrast to the Arthur of legend. This article reads Ishiguro’s novel against the medieval work that codified the notion of an historical King Arthur, Geoffrey of Monmouth’s History of the Kings of Britain (c. 1139). Geoffrey’s History offered a largely fictive account of the British past that became the most successful historiographical phenomenon of the English Middle Ages. The Buried Giant offers an interrogation of memory that calls such “useful” constructions of history into question. The novel deploys material deriving from Geoffrey’s work while laying bear its methodology; the two texts speak to each other in ways sometimes complementary, sometimes deconstructive. That Ishiguro’s critique can be applied to Geoffrey’s History points to recurrent strategies of history-making, past and present, whereby violence serves as a mechanism for the creation of historical form.

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Fagell, Phyllis L. "Bookshelf: Kappan authors on their favorite reads." Phi Delta Kappan 102, no. 2 (September 22, 2020): 70. http://dx.doi.org/10.1177/0031721720963241.

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In this monthly column, Kappan authors discuss books and articles that have informed their views on education. Phyllis Fagell recommends The Gift of Failure by Jessica Lahey, Meredith Honig shares what she learned from The Remains of the Day by Kazuo Ishiguro, and Alex Molnar describes the influence of the Urban Review article “The person in the curriculum” by James Macdonald.

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Ihsanullah, Abi, Badri Badri, and Muhammad Fathan Zamani. "NALURI KEHIDUPAN DAN NALURI KEMATIAN DALAM FILM NEVER LET ME GO KARYA KAZUO ISHIGURO." Jurnal CULTURE (Culture, Language, and Literature Review) 9, no. 1 (May 11, 2022): 12–29. http://dx.doi.org/10.53873/culture.v9i1.295.

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All living things have instincts. Every living thing has the instinct to survive and the instinct to die. The objectives of the research are to analyze the film entitled Never Let Me Go by Kazuo Ishiguro using Sigmund Freud's Psychoanalysis theory and the stages of grief’s theory using Kubler Ross’s perspective. The researcher will focus on the actions taken by Kath, Ruth, and Tommy by explaining the life instincts and death instincts according to Sigmund Freud’s theory and the stages of grief experienced by Tommy using Kubler Ross's theory. This research uses a material object in the form of the film entitled Never Let Me Go by Kazuo Ishiguro and a formal object in the form of the theory of life and death instinct according to Sigmund Freud’s perspective and stage of grief according to Kubler Ross’s perspective. This research applies the qualitative descriptive method. The findings are as follows: life instinct is carried out by Kathy and death instincts are carried out by Ruth and Tommy. In addition, the stages of grief experienced by Tommy are as follows: (1) denial, (2) anger, (3) bargaining, (4) depression, and (5) acceptance.

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Moran, Patrick. "Les vertus de l’oubli : ambivalences du passé arthurien chez Kazuo Ishiguro." Tangence, no. 110 (December 23, 2016): 141–60. http://dx.doi.org/10.7202/1038502ar.

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The Buried Giant (2014) de Kazuo Ishiguro est un roman à la frontière des genres : l’auteur puise dans la matière arthurienne, notamment dans Gauvain et le chevalier vert, pour élaborer un texte à mi-chemin entre la fantasy, le conte de fées et le roman intime. Située peu après la mort du roi Arthur, l’action se concentre sur un couple vieillissant et présente une Bretagne crépusculaire, où la coexistence des Bretons et des Saxons se fait de plus en plus inconfortable. Une étrange amnésie frappe l’île, et le souvenir d’événements récents risque sans cesse de resurgir et de briser l’équilibre des forces, en même temps qu’il menace de ruiner l’harmonie fragile qui unit les deux protagonistes. Un tel travail sur la mémoire et ses ambivalences est typique de l’oeuvre d’un auteur qui privilégie les zones de non-dit et d’incertitude. En se concentrant sur le rapport ambivalent que The Buried Giant entretient avec ses sources médiévales, cet article cherche à montrer comment Kazuo Ishiguro, tout en se tenant à distance de l’imaginaire médiéval et breton, réactive en fait la réflexion arthurienne sur l’impermanence, et construit un récit qui assume pleinement ses penchants allégoriques.

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Matek, Ljubica. "Narrating Migration and Trauma in Kazuo Ishiguro’s A Pale View of Hills." American, British and Canadian Studies 31, no. 1 (December 1, 2018): 129–46. http://dx.doi.org/10.2478/abcsj-2018-0020.

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Abstract Kazuo Ishiguro’s novel A Pale View of Hills (1982) represents both trauma and migration as continuous processes rather than finite stages in the life of Etsuko, the novel’s protagonist. This essay focuses on the ways in which trauma is narrated in the novel, arguing that in representing the protagonist’s life, Ishiguro mimics the narrative strategies used by trauma survivors. Written from the point of view of an unreliable narrator, the novel is a discontinuous narrative marked by indeterminacy and ambiguity, which “travels” from Britain to Japan and back, and which evinces biographical gaps and uncertainties that blur the boundary between Etsuko’s past and present, making it impossible for her to fully cross that boundary. The parallels between her life and the life of her friend Sachiko as well as her dubious narration, a consequence of creating a false version of traumatic events as a protective measure against their impact, serve to emphasize the incompleteness of both her migration and her story.

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Dovhanych, M. V. "THE MYTHOLOGEM OF «HOME» IN THE WORKS OF KAZUO ISHIGURO." Тrаnscarpathian Philological Studies 12 (2019): 238–43. http://dx.doi.org/10.32782/tps2663-4880/2019.12.46.

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Hu, Jane. "Typical Japanese: Kazuo Ishiguro and the Asian Anglophone Historical Novel." MFS Modern Fiction Studies 67, no. 1 (2021): 123–48. http://dx.doi.org/10.1353/mfs.2021.0005.

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Hagen, W. M. "Nocturnes: Five Stories of Music and Nightfall by Kazuo Ishiguro." World Literature Today 84, no. 2 (2010): 66. http://dx.doi.org/10.1353/wlt.2010.0269.

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Ishiguro, Kazuo, and Minh Tranh Huy. "Kazuo Ishiguro : « J’écris sur la face cachée de la mémoire »." Books N° 66, no. 6 (May 1, 2015): 18–20. http://dx.doi.org/10.3917/books.066.0018.

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WALKOWITZ, R. L. "Unimaginable Largeness: Kazuo Ishiguro, Translation, and the New World Literature." Novel: A Forum on Fiction 40, no. 3 (June 1, 2007): 216–39. http://dx.doi.org/10.1215/ddnov.040030216.

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Šemelák, Martin. "The suffering of existence in Kazuo Ishiguro’s Never Let Me Go." Ars Aeterna 10, no. 2 (December 1, 2018): 8–17. http://dx.doi.org/10.1515/aa-2018-0008.

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AbstractThis paper deals with the British dystopian novel Never Let Me Go by Kazuo Ishiguro, in which human clones are forced to donate their organs in an alternate reality set in 1990s England. Through the characters of the novel, various manifestations of suffering are examined from the viewpoint of existentialism. The whole concept of donation might be understood as a metaphorical expression for human life, as well as the omnipresent consciousness of its finitude. Ishiguro has prepared the ground for disturbing discussion where two ostensibly different groups of people – clones, whose only purpose is to donate their vital organs, and “normal people” as the recipients – suddenly appear to be indistinguishable in terms of mortality and the general experience of human existence. This paper focuses on the concept of existential anguish in the context of the novel’s story. Using an unobtrusive science fiction narrative, Never Let Me Go encourages readers to contemplate the essence, meaning and purpose of human life, and it quietly points to topics that are usually treated as highly sensitive: the inevitability of death and apparent absurdity of human existence.

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Prus, Elena. "Artistic Anthropology from the Perspective of Transhumanist Ethics." Intertext, no. 1/2 (57/58) (October 2021): 39–49. http://dx.doi.org/10.54481/intertext.2021.1.04.

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Japanese-born British Kazuo Ishiguro is a fiction writer rewarded with the Nobel Prize for Literature in 2017, whose polymorph opera is appreciated for the literary quality of books. The memory, the identity, the nostalgia, the self-illusion and the capacity of individual to overpass own limits are topics constituting Ishiguro personal brand. The literary approach was often an anticipation of ontological realities, a view of the future. Never Let Me Go (2005) is a novel about the ethics matters arisen by the problem of cloning bioengineering in formulas of artistic anthropology. The novel was catalogued differently: as dystopic story with fantastic elements about an alternative universe created by the genetic engineering and as a love story disguised in alternative story. Inscribing in the bloodline of Huxley, the innovation of Ishiguro consisted in the fact that he has represented “the cloning kitchen” from a totally different perspective than that of previous novelists – the one of cloned beings, whose true mission is to become living donors of organs for transplantation. There is however in this tensioned atmosphere human elements: the pupils practice arts and fell in love, proving a sensitive capacity of the soul. The artistic conflict consist in the confrontation between humanists and representatives of medical industry, the last taking the control. Ishiguro’s novels do not give solutions, “the clones’ nation” does not try to protest or to escape. The global matters the novel arises inscribes in treating the science as a continuation of the metaphysics, as updating of the spirit by transforming experimentally the living, as delegation of the moral.

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M R, Sripriya, and Ramakrishnan T. "EXCAVATION OF THINGS PAST: A HISTORICAL PROBE INTO KAZUO ISHIGURO’S THE REMAINS OF THE DAY." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2SE (January 9, 2023): 1–6. http://dx.doi.org/10.29121/shodhkosh.v3.i2se.2022.240.

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The paper aims to explore the historical aspects of the novel The Remains of the Day by Kazuo Ishiguro. The novel deals with six days motoring trip in the life of the protagonist Mr. Stevens, an English butler from Darlington Hall, England to Cornwall for business purposes in 1956. The study traces how the physical journey leads him to recognize his past issues through a mental journey of a loyal butler. This helps him to identify his true self. The remembrance of his personal history, loss, historical events, places, historical figures, and political situation in Europe shape his existence. The novel & historical background is First World War and Second World War, which play a major role in this novel. The paper explains the problem statements as how Kazuo Ishiguro mentions the intermixing of Steven’s personal and historical incidents in the novel. It analyses how strong emotion of suppression, suffering, regrets, and pain leads the protagonist to the emotionless condition in his life. The aim of the paper is to bring out the historical traces of the Nazi party, the Treaty of Versailles, the Hayes Society - an elite society of butlers in the 1920s and 1930s and the Suez Canal crisis in the novel. The paper also suggests ideas and the scope of further research.

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Oprisnyk, Yaryna. "MEMORY AND SPACE IN KAZUO ISHIGURO'S NOVEL "THE BURIED GIANT": INTERMEDIAL ASPECT." Scientific Journal of Polonia University 48, no. 5 (January 17, 2022): 56–66. http://dx.doi.org/10.23856/4807.

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The aim of the article is to investigate the phenomenon of intermediality in 2015 novel The Buried Giant by the British writer Kazuo Ishiguro. Particular attention is paid to the notion of “literary cinematographicness” (also known as cinematic or filmic mode), which is defined as the use of cinematic techniques and effects in literature, thus creating the effect of multimodality, with a dramatic-intensive flow of events in the text. Analyzing examples from Ishiguro’s novel, the article focuses on such elements of literary cinematographicness as the prevalent audio-visual modality, with an in-depth semantics of sensory images and characters’ non-verbal language; the abundance of audial and visual special effects; as well as incorporating different shots sizes, perspectives, and angles that produce the effect of multidimensional space in the recipient’s mind. Furthermore, the novel’s central motif of memory and recollections determines its non-linear chronotope, with such cinematic techniques as montage, dynamic frame shots, and flashbacks becoming instrumental in depicting the complex spatio-temporal relations between the scattered scenes and images.

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Journal articles on the topic 'Kazuo Ishiguro'

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