In this essay, I read Ishiguro’s novels as responding to Adorno’s challenge by formulating an aesthetics in which history’s failure to instruct becomes a form of instruction in its own right. Part of the horror of post-Auschwitz modernity, for Adorno, was the sense that history had failed to instruct: that in the face of the most horrific revelations, Europe was unable to do anything more than avert its gaze and go about business as usual. Prior to discussion, an introduction and brief information about the historical background of the novel will be given.Īdorno’s proclamation that “to write poetry after Auschwitz is barbaric” responded to the problem of affirming, in any way, a form of existence that had been revealed to be barbaric in its very essence. There are many changes in society ranging from the traditional values to traditional art and they cause Ono to feel disturbed. The aim of this article is to analyse displacement and estrangement problems that the main character, Masuji Ono, faces because of the influence of another culture in Japan after World War II. An Artist of the Floating World is one of them. Kazuo Ishiguro is one of the examples of the writers of postcolonial literature and he studies on the aforementioned themes in his books. Postcolonial literature deals with such problems as estrangement, displacement, identity crisis, etc. When another culture tries to penetrate into the existing culture, some problems arise among people living in that society. Thus it can be summarized that culture is something commonly shared, transmitted and it has a role in shaping people.
It includes all the traditions, customs, beliefs and values that are transmitted from generation to generation and it can shape people.
Culture is a shared pattern of behaviour prevailing in a group or a society.
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