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(1997)
Nihirizumu ni tsuite,
(1968)
Taiy to tetsu (Tokyo: Shinchsha
(1983)
For a further development of the concept of "abstract machine
M. Foucault (1993)
Surveiller et punir: Naissance de la prison
(1999)
Also see the discussion between Watanabe, Karatani Kjin, Asada Akira, Suga Hidemi, and Nibuya Takashi
(1993)
Seminar III: The Psychoses
(1972)
Translated by Barbara Johnson as "The Double Session" in Derrida, Dissemination (Chicago
(1989)
une pratique qui utilise le dispositif de la fictionnalisation auctoriale pour des raisons qui ne sont pas autobiographiques,
Naoki Sakai (1988)
Modernity and Its Critique: The Problem of Universalism and ParticularlismPostmodernism and Japan
(1998)
) opens another decisively important analytic approach to the question of the operation of identity in Mishima's texts. Also see J. Keith Vincent
Suga cites the name of Asada Akira, presumably in reference to Asada's "J-kaiki no yukue
(1983)
Guattari, Anti-Oedipus (Minneapolis
(1996)
On the same question, see also Masao Miyoshi, Accomplices of Silence
(1968)
Jiko o ika ni arawasu ka, to iu koto yori mo, ika ni kakusu ka, to iu hh ni yotte bungaku seikatsu o hajimeta
Milton Kornrich (1965)
The double session.Psychotherapy, 2
Review of Roy Starrs, Deadly Dialectics
(2004)
Kaisetsu,” in Mishima Yukio, Wakaki samurai no tame ni (Tokyo: Bunshun Bunko
Naoki Sakai, M. Morris (1999)
Translation and Subjectivity: On Japan and cultural nationalismThe Journal of Asian Studies, 58
(1999)
A Critique of Postcolonial Reason (Cambridge
(1992)
Derrida , “ Counterfeit Money I , ” in Given Time : I . Counterfeit Money , trans
Frequently in Shimada's texts on Mishima, this difference between Mishima and "Mishima" is emphasized by using katakana script to write his name, rather than the standard kanji characters
(1969)
Tdai Zenkyt vs. Mishima Yukio: The Cultural Displacement of Politics," in Yasko
Nina Cornyetz (2001)
Amorphous Identities, Disavowed History: Shimada Masahiko and National Subjectivitypositions: east asia cultures critique, 9
J. Derrida (1970)
La double séanceTel Quel
(1999)
Fukei bungakuron josetsu (Tokyo: Ôta Shuppan
(2000)
Mishima’s texts: see Nina Cornyetz, “Ki suru yokub
Naoki Sakai, J. Solomon (2006)
Traces 4: Translation, Biopolitics, Colonial Difference
(1995)
Kamen no shingaku: Mishima Yukio ron
Maurice Blanchot, A. Smock (1986)
The Writing of the Disaster
R. Barthes, S. Heath (1977)
Image-Music-Text
Roy Starrs (1994)
Deadly Dialectics: Sex, Violence, and Nihilism in the World of Yukio Mishima
(2003)
Kakumo sensai naru b: Nihon “68nen” shsetsuron (Tokyo: Kdansha
(1973)
Le terme le plus large pour désigner une action concertée par l'homme, quelle qu'elle soit, qui le met en mesure de traiter le réel par le symbolique
William Haver (1997)
The Body of This Death: Historicity and Sociality in the Time of AIDS
M. Miyoshi, H. Harootunian, Stanley Fish, F. Jameson (1989)
Postmodernism and JapanJournal of Japanese Studies, 16
(2003)
Kakumeiteki na, amari ni kakumeiteki na: “1968nen no kakumei
J. Derrida, Peggy Kamuf (1992)
Given Time: I. Counterfeit Money
(1987)
Mishima ga yume de watakushi ni kataru koto,
As an author, a figure, and as an author who relied on figurations of himself as a primary device, Mishima Yukio (1925–1970) has existed in a complex relationship to criticism and literary history. Criticism of Mishima's work and life has often taken for granted the network of configurations, referrals, and affective structures set up by Mishima himself, and thus more often than not participates in the continuation and concretization of the Mishima myth. I argue that Taiyô to tetsu ( Sun and Steel , 1968) contains a glimpse into the construction of this discursive machine, and that this work has largely been misread as what it purports to be: a kind of autobiography. Instead, Taiyô to tetsu is itself a reproduction schema for the project at its center: the careful correlation of Mishima the historical figure and Mishima as self-figured in his work. The theorizations of subjectivation, visuality, and collectivity in the text trace this project through its formation. By explicitly setting up this machine in his text, Mishima carefully ensured that even oppositional readings of his work would be co-opted into service on behalf of the discourse of his own myth. After drawing out the theoretical structures of Taiyô to tetsu , I conclude by suggesting that in terms of its relation to criticism and literary history, Mishima's project and the problematic posed by it closely parallels the question of the emperor-system ( tennôsei ) and its own problems of cultural representation.
positions asia critique – Duke University Press
Published: Mar 1, 2010
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