Adopting historical perspectives, this thesis explores domestic, aesthetic, and cultural conflicts in modern Japan surrounding Masuji Ono, the protagonist in Kazuo Ishiguro¡¦s An Artist of the Floating World, as he looks back on his past. His memory narrative reveals his transformation from an iconoclastic young artist to a militarist propagandist in pre-war time, and finally to an old man who comes to terms with the loss of his prestige through none too reliable remembrances. Reading Ono¡¦s narrative in cross reference to historical texts, I argue that his transformation is in step with Japan¡¦s shift from a thriving nation to a militarist empire, and ultimately to a defeated nation subject to the Occupation after World War II and subsequent social changes. These changes are induced by democratization and disarmament engineered by the American army, which drastically undermine Japanese values, including the apotheosis of the Emperor, patriarchy, and social hierarchy. Forced to redefine themselves in the midst of the drastic social transformation, the Japanese harbor mixed feelings toward the emperor, regarding him as a guardian of the nation and a traitor. This ambivalence is profoundly felt by Ono, whose fall parallels the emperor¡¦s, since his authority as a father and a painting master is interrogated by the younger generation, most notably his daughter. In particular, his interaction with his grandson, who is brought up with American values, registers the Japanese attitudes toward the American, considering the occupier as both a welcomed authority and an alien monster. By examining three prominent authority figures in the novel¡Xfather, master, and monster¡Xthis thesis uncovers Ishiguro¡¦s agenda for negotiating an interface between history and personal memory.