Description
Bringing together an international group of scholars, this collection offers a fresh assessment of Kazuo Ishiguro’s evolving significance as a contemporary world author. The contributors take on a range of the aesthetic and philosophical themes that characterize Ishiguro’s work, including his exploration of the self, family, and community; his narrative constructions of time and space; and his assessments of the continuous and discontinuous forces of history, art, human psychology, and cultural formations. Significantly, the volume attends to Ishiguro’s own self-identification as an international writer who has at times expressed his uneasiness with being grouped together with British novelists of his generation. Taken together, these rich considerations of Ishiguro’s work attest to his stature as a writer who continues to fascinate cultural and textual critics from around the world.
Table of Contents
Global Ishiguro
Rebecca L. Walkowitz
Introduction: Ishiguro and his worlds in literature
Cynthia F. Wong and Hulya YA+-ldA+-z
Part 1 Crossing National and Aesthetic Borders:
Kazuo Ishiguro and 'imagining Japan'
Romit Dasgupta
Reworking myths: stereotypes and genre conventions in Kazuo Ishiguro's work
Stefanie Fricke
Memory, nostalgia and recognition in Ishiguro's works
Yugin Teo
'You never know who you're addressing': a study of the inscribed 'you' in The Remains of the Day
Elif Oztabak-AvcA+-
Ishiguro and Heidegger: the worlds of art
Fiona Tomkinson
Part 2 Translations of Culture, Space, and Time:
The Unconsoled: piano virtuoso lost in Vienna
Clare Brandabur
Place identity and detection in When We Were Orphans
Margaret J-M Sonmez
What Kathy knew: hidden plot in Never Let Me Go
Olga Dzhumaylo
'How dare you claim these children are anything less than fully human?': the shared precariousness of life as a foundation for ethics in Never Let Me Go
Liani Lochner
Time and the threefold I in Never Let Me Go
Duru Gungor
Cosmos of similitude in Nocturnes
Chu-chueh Cheng
Oppositional narratives of Nocturnes
Cynthia F. Wong
