Emerging out of three current critical trends in literary studies broadly and modernist studies specifically, this dissertation intervenes in the scholarly discourse surrounding the distinctly modern aesthetic-affect of the cute-kawaii. Firstly, drawing on Susan Stanford-Friedman’s conception of modernisms as decentered and disjunctive “planetary” phenomena, it situates the cute-kawaii neither entirely within the 20th century English and American, nor Japanese contexts but attempts to articulate cute-kawaii as affect obtaining in both. Secondly, its methodology participates in the “post-critical” turn in literary studies. Rather than deploying a “suspicious” hermeneutics it attempts what Anne Cheng calls a “hermeneutics of susceptibility,” in which analysis is not dispassionate, but intensely invested in its object. Lastly, the dissertation is theoretically grounded by the affective turn in literary studies, and in particular Brian Massumi’s conception of “affect” as fundamentally ethical in its orientation away from a subject and towards others. Its trajectory tracks iterations of common cute-kawaii tropes as they appear in Japanese, British, and American modernist novels which either explicitly invoke the cute-kawaii, as with James Joyce’s cute rats, or are implicated in the media ecosystems through which those tropes circulate as in the case of Junichiro Tanizaki’s Naomi. Ultimately, the aim of this dissertation is to demonstrate that the cute-kawaii, which has previously been understood as an insidious commodity aesthetic, is better understood as an affective experience with ethical import. In particular, the cute-kawaii is an experience of the ambiguity of the human and non-human, self and world, and significance and signification.
Identifer | oai:union.ndltd.org:bu.edu/oai:open.bu.edu:2144/45312 |
Date | 04 November 2022 |
Creators | Russo, Bryan Michael |
Contributors | Vincent, J. Keith |
Source Sets | Boston University |
Language | en_US |
Detected Language | English |
Type | Thesis/Dissertation |
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