I aim to test the extent to which studying the reception of East Asian literature in translation can help us promote a broader discussion on the appropriateness of such frameworks in our understanding of contemporary literary phenomena. My goal is to examine how the circumstances of Japanese literature in translation perpetuate mechanisms of canonization in their engagement and legitimation of an ongoing logic of representation that is non-confrontational with respect to agents in power.
I will focus on the reception of Murakami Haruki as the contemporary representative of the canon of Japanese literature in translation.
this is my very first book by Haruki Murakami, and idk if it’s just me projecting or if the way he views women is a bit objectifying sometimes reading him describing women or his characters. The book is a sequel to Murakami's novel A Wild Sheep Chase. As a case study, I analyze the implications of building and reproducing a canon of Japanese literature in translation in the United States for the way Japan has been represented in public discourse in the last thirty years. i’m currently (almost done) reading Dance, Dance, Dance. Dansu, dansu, dansu Dance Dance Dance (The Rat 4), Haruki Murakami Dance Dance Dance, is a novel by Japanese writer Haruki Murakami. I argue that World Literature as a paradigm hinders our efforts to overcome the burdens of canonization.
Urn:oclc:843016077 Republisher_date 20120712120907 Republisher_operator Scandate 20120711181602 Scanner this article, I explore the relationship between the reproduction of hegemonic discourses of national representation in the reception of literature in translation and processes of canonization. OL2625414W Page-progression lr Page_number_confidence 96.32 Pages 410 Ppi 400 Related-external-id urn:isbn:0099448769 Access-restricted-item true Addeddate 17:06:15 Bookplateleaf 0010 Boxid IA102801 Camera Canon EOS 5D Mark II City Tokyo Edition 1st ed.
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