Reconstructing Memory and Moral Responsibility: A Critical Exploration of Nationalism, Artistic Ideology, and Unreliable Narration in Kazuo Ishiguro’s An Artist of the Floating World
This blog is written as a 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 here.
Worksheet 3 - Reading Important Passages from the Novel
Activity 1: Understanding Narrative Perspective
Masuji Ono frequently addresses the reader using the second-person pronoun “you”, which creates an illusion of direct conversation and intimacy. This technique gives the impression that Ono is clarifying events honestly, as though justifying his past to an imagined listener. However, this narrative strategy simultaneously reveals his tendency to rationalize or selectively interpret his memories.
By drawing the reader into his personal reflections, Ono subtly manipulates perception presenting certain actions as socially justified rather than morally questionable. This contributes to his characterization as an unreliable narrator, as readers begin to question whether his recollections reflect truth or self-exoneration shaped by guilt and nostalgia.
Activity 2: Character Analysis – Yukio Naguchi
Naguchi’s suicide can be understood as a response to:
- Shame associated with wartime nationalism
- Public accountability in post-war Japan
- The collapse of imperial ideology
- Social expectations of honour and responsibility
Unlike Ono, Naguchi chooses death as an act of atonement, reflecting the persistence of traditional Japanese values such as honourable self-sacrifice. Ono’s reflections on Naguchi reveal the tension between acknowledging guilt and avoiding responsibility, thereby deepening our understanding of a society struggling to reconcile its militaristic past with democratic reconstruction.
Activity 3: Artistic Evolution of Masuji Ono
- Complacency
- Depicts pleasure-seeking urban life
- Symbolizes aesthetic detachment from social reality
- Reflects Ono’s early artistic focus on beauty and escapism
- Eyes to the Horizon
- Suggests forward movement and ideological commitment
- Symbolizes nationalism and social purpose
- Indicates alignment with imperial propaganda
Ono’s shift from “Complacency” to “Eyes on the Horizon” parallels his ideological transformation from an apolitical observer to an artist actively supporting nationalist discourse. Art becomes not merely expressive but ideological.
Activity 4: Theme of Art and Social Responsibility
Ono’s association with Matsuda and the Okada Singham organization reflects a belief that artists must engage with national realities rather than remain detached aesthetes.
Through this ideological awakening:
- Art becomes a tool for political influence
- Artists are seen as agents of social change
- Creative expression is redirected toward state propaganda
The novel thus interrogates whether artists should serve society or critique it and exposes the ethical dangers of politicized art.
Activity 5: Encounters with Seji Muriyama and Setsuko
- Muriyama → Setsuko
- Represents Ono’s artistic past→Represents post-war reality
- Embodies traditional artistic discipline→Questions Ono’s moral stance
- Encourages aesthetic purity→Encourages self-reflection
Muriyama reinforces Ono’s earlier identity as a traditional artist, whereas Setsuko’s subtle critiques force him to confront his past actions. These interactions reveal Ono’s fragmented sense of identity as he negotiates between pride and remorse.
Activity 6: Reflecting on “New Japan”
The idea of “New Japan” signifies:
- Democratic reform
- Rejection of imperial militarism
- Westernized modernity
Ono’s reflections illustrate the generational divide between those who supported wartime nationalism and those embracing reform. His uncertainty about whether his contributions were patriotic or harmful mirrors Japan’s broader struggle to redefine progress without erasing historical accountability.
Activity 7: Analyzing Matsuda’s Role
Matsuda functions as:
- A political mentor
- An ideological catalyst
- A moral influence
He encourages Ono to abandon escapist art in favour of nationalist engagement. Their relationship symbolizes how mentorship can guide artistic direction while simultaneously implicating the artist in larger socio-political agendas.
Activity 8: Critical Reflection
The themes of:
- Memory (subjective reconstruction of the past)
- Identity (shaped by historical context)
- Redemption (partial acknowledgment without full confession)
resonate strongly in contemporary discussions of historical responsibility. The novel demonstrates that personal and national identities are continually re-negotiated through memory, often blurring the line between justification and remorse.
Acknowledgement:
These responses were prepared with the assistance of AI tools (ChatGPT) as permitted in the worksheet instructions
Worksheet 4 - Thematic Study
1. Understanding
a) What is the central theme discussed in the excerpt?
The central theme discussed in the lecture is the conflict between art, responsibility and nationalism, along with self-deception and memory.
As explained in the video, Masuji Ono initially works as an artist of the Floating World (pleasure district art), but later desires to create meaningful art that can advocate for the poor and contribute to society. This transition leads him towards political nationalism during pre-war Japan. The lecture highlights that the narrative explores:
- Moral responsibility of the artist
- Impact of nationalism
- Distortion of memory
- Personal guilt in post-war Japan
Thus, the novel thematically deals with how individuals reconstruct their past to justify their present identity.
b) Who is the protagonist of the novel, and what is his desire regarding his art?
The protagonist of the novel is Masuji Ono.
According to the lecture, Ono does not wish to remain merely an artist of the pleasure world. Instead, he wants:
- to become an artist who contributes to society by advocating for the poor and supporting national progress.
- This ambition leads him to abandon aesthetic art and move towards politically motivated propaganda art, which later becomes the source of his guilt in post-war Japan.
2. Applying
a) How does Masuji Ono's shift in perspective reflect broader societal changes in post-war Japan?
The lecture explains that Ono’s shift from pleasure-seeking artistic expression to nationalist propaganda mirrors Japan’s transition:
- Pre-War Japan → Post-War Japan
- Imperial nationalism → Democratic reform
- Militaristic pride → Shame and regret
- Expansionist ideology → Peaceful reconstruction
Ono’s belief that art should serve the nation reflects the pre-war patriotic mindset. After Japan’s defeat in World War II, society begins to reject such ideology. Therefore:
Ono’s personal transformation symbolizes Japan’s collective movement from militant nationalism to reflective self-criticism.
b) Can you provide examples of how nationalism influences the protagonist's actions in the novel?
As mentioned in the lecture:
- Ono abandons his mentor Mori-san’s aesthetic artistic tradition.
- He supports imperial ideology through his paintings.
- He produces propaganda encouraging loyalty to the nation.
- He helps train younger artists to serve national interests.
His artwork becomes a tool to promote Japan’s expansionist ambitions, showing how nationalism directly shapes his artistic decisions.
3. Analyzing
a) How does Kazuo Ishiguro use narrative strategy to convey the theme of deception in the novel?
The lecture emphasizes that the novel is structured through:
- First-person narration
- Fragmented memories
- Selective recollection
- Contradictions in Ono’s statements
Ono often revises his own past:
- He minimizes his involvement in nationalist propaganda.
- He claims moral authority in earlier sections.
- Later admits possible mistakes indirectly.
This unreliable narration creates ambiguity between truth and self-justification, revealing the theme of self-deception.
b) Discuss the significance of Masuji Ono's journey from a respected artist to a figure of disdain in society.
Ono’s journey reflects the collapse of pre-war values in post-war Japan.
Earlier:
- He enjoyed prestige and social authority.
- His nationalist work earned him recognition.
After the war:
- His past becomes morally questionable.
- Younger generations view him as responsible for wartime ideology.
- His reputation declines during his daughter’s marriage negotiations.
Thus, his fall symbolizes the decline of imperial ideology and the rise of democratic accountability.
4. Evaluating
a) Do you believe Masuji Ono's actions are justified in his pursuit of advocating for the poor? Why or why not?
Although Ono initially intends to serve the underprivileged, his actions become ethically problematic because:
- His art supports militarism.
- It indirectly contributes to war propaganda.
- It promotes blind nationalism.
The lecture suggests that good intentions do not justify harmful consequences. Therefore, Ono’s actions cannot be fully justified as they ultimately aid destructive political agendas.
b) How does the unreliable narration contribute to the overall impact of the novel? Provide examples to support your answer.
Unreliable narration:
- Creates psychological depth
- Reflects post-war guilt
- Engages readers in interpreting truth
Example from lecture discussion:
Ono’s shifting account of his role in influencing students like Kuroda shows how memory is reconstructed to reduce personal responsibility.
This strategy allows readers to see the tension between:
→ Ono’s self-image
→ Historical reality
5. Creating
a) Journal Entry (as Ichiro – grandson)
Today I heard Grandfather speak again of his past achievements. Mother seems uneasy whenever marriage talks arise. I wonder if his paintings once praised by society now carry shame. Perhaps he believed he was helping the nation, but now everyone speaks of peace and democracy. His pride appears fragile, as if he fears judgment from the new Japan that no longer honors what he once stood for.
b) Book Cover Design
Refrences:
Barad, Dilip. “An Artist of the Floating World.” Dilip Barad: Teacher Blog, 6 June 2021, blog.dilipbarad.com/2021/06/artist-floating-world.html.
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