The Logic of Sustainability in Ikezawa Natsukis Ecofiction.docx

The Logic of Sustainability in Ikezawa Natsukis Ecofiction.docx

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TheLogicofSustainabilityinIkezawaNatsukisEcofiction

TheLogicofSustainabilityinIkezawaNatsuki’sEcofiction

　　Abstract:

ThisessaydiscussesasustainablewayofcivilizationinrelationtoglobalizationandenvironmentalismbyexaminingIkezawaNatsuki’ssequalecofiction,?

?

SubarashiiShinsekai?

?

［?

?

BraveNewWorld?

?

2000］and?

?

HikarinoYubideFureyo?

?

［?

?

TouchwiththeFingerofLight?

?

2008］.AsacosmopolitanwriterwhohaslivedinTokyo,Greece,Okinawa,andnowFrance,withastrongscientificbackground,Ikezawauseshisculture?

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straddlinglogictoexploresustainableinterfacesbetweenseeminglyopposingideassuchaslocalismandglobalism,amateurismandprofessionalism,andtechnologyandwisdom.IwilldiscusshowIkezawa’sliteraryworldcriticallyperceives,ratherthanavoids,thetensionbetweensuchopposingforcesandintroducesanewlogicwhichhelpsreadersseetheireverydaylivesinanecologicallyrefreshingway.

　　Keywords:

JapaneseenvironmentalliteratureIkezawaNastukisustainabilityecofiction

　　Author:

MasamiRakerYukiisassociateprofessoratKanazawaUniversity,Japan.ShespecializesinAmericanandJapaneseenvironmentalliteratureandecocriticism.Email:

mryuki@wg8.so?

?

net.ne.jp

　　标题：

池泽夏树生态小说中的可持续性发展逻辑

　　内容提要：

本篇论文通过阅读池泽夏树的系列生态小说，《勇敢的新世界》（2000年）和《用光的手指触摸》（2008年），探讨如何在与全球化和环境主义的相互关系中获得一条可持续发展的文明道路。

作为一位作家，池泽夏树以四海为家，先后在东京、希腊及冲绳生活过，现居法国。

他有着很强的科学背景，能够以他的文化越界逻辑在各种看似矛盾的思想间探寻到可持续的边缘界面，如本土主义和全球主义、业余化和专业化、以及科技与智慧之间。

论文指出，池泽夏树在其作品中以批判的眼光看待而非回避这些对立面之间存在的张力，为读者介绍了一条新的可持续性发展逻辑，从而帮助他们以崭新的生态观观察自己的日常生活。

　　关键词：

日本生态文学池泽夏树可持续性生态小说

　　作者简介：

结城正美，日本金泽大学副教授。

研究方向为美国和日本的生态文学和生态批评。

　　IKEZAWANatsukiisanaward?

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winningJapanesecontemporarywriter,poet,andtranslator,whohasbeenexploringalessdestructiveandmoresustainablewayofcivilization.Noonewouldarguehisbeingaleadingenvironmentalwriter;indeedheisoftenintroducedasamajorJapaneseenvironmentalwriteralongsidewritersandpoetssuchasMatsuoBasho（松尾芭蕉）,MiyazawaKenji（宫迟贤治）,andIshimureMichiko（石牟礼道子）（ASLE?

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Japan238?

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39,Ikuta279）.However,othersmightrathercallhimatravelwriter.Ikezawaisanavidtraveler,notonlyvisitingmanypartsoftheworldfromAfricatothePacificislands,butalsohavinglivedinmanyplacesincludingTokyo,Greece,Okinawa,andFrance,wherehecurrentlyliveswithhisfamily.Inadditiontophysicalmovement,Ikezawaseemsfascinatedwithconceptualmotion,traversingtheideologicaldistancesbetweendifferentdisciplines.Suchacosmopolitan,culture?

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straddlingstancemakesIkezawa’sworkuniqueinJapan’sliteraryenvironmentalismwhichisoftencharacterizedbyastrongsenseofplace―ofrootednessinaparticularplace.ComparedtoAmericanliteraryenvironmentalismwhichhasatendencytohighlighttheimplicationsofasenseofplace,“Japanesewriters...donotseemtohaveanytroublelocatingthissenseinwhattheywrite.Or,rather,thesenseofplacehasbeensoacknowledgedbywritersassomethinginherentintheJapanesementalitythatsometimestheyarenotevenawarethatitislatentintheirownwriting”（Ikuta277）.Ratherthanfocusingonandcelebratingthepoeticsofhumanconnectednesstoaparticularplace,Ikezawa’scompoundperspectiveseesaplaceandthehumaninteractionwiththeenvironmentinitinamoreobjectiveandcomparativemanner.

　　Apopularwriterandintellectualwhohasreceivedseveralprestigiousliteraryawards,Ikezawahasattractedgeneralandscholarlyreaders,withinandbeyondJapan.However,asfarasIknow,therehasnotyetbeenanyecocriticalresearchfocusingonhiswork.ItmayhavesomethingtodowiththeacademiccircumstancesofecocriticisminJapan.SincetheintroductionofecocrticismintoJapan’sacademicrealminthemid1990s,ithasbeenpracticedmainlybyAmericanists,nothavingbeenverysuccessfulinattractingtheattentionofJapaneseliteraryscholars.InadditiontotheunsuccessfulmarriagebetweenAmerican?

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bornecocriticismandJapaneseliterarystudy,theremightbesomeotherreasonsforthelimitedecocriticalattentiontoIkezawa’swork.IamnotascholarofJapaneseliteraturebyprofessionmyself,yetusingwhatIhavelearnedinthestudyofAmericanliteraryenvironmentalism,IhaverecentlyattemptedtoapplyecorticialtheoryandmethodologytothereadingofJapaneseliteraryworkssuchasthoseofIshimureMichiko,MorisakiKazue,andTaguchiRandy.Inthisessay,IwishtoillustratehowIkezawa’sculturalpluralisticpositionintroducesauniqueperspectivetoliteraryenvironmentalisminJapan.

　　ACulturalStraddler

　　Inhisnonfictionessayssuchasthosecollectedin?

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Hahanarushizennooppai?

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［?

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MotherEarth’sBreast?

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1996］,andnovelsincluding?

?

Subarashiishinsekai?

?

［?

?

BraveNewWorld?

?

2000］and?

?

Hikarinoyubidefureyo?

?

［?

?

TouchwiththeFingerofLight?

?

2008］,thereisadistinctivetendencytotraversedifferentculturesphysicallyandconceptually.AsIhavementioned,Ikezawahimselfisatraveler,acosmopolitanwhohaslivedinmanydifferentplaces,andadecompartmentalizedintellectualwhofreelygoesbackandforthbetweenpoeticsandscience.Butforwhatdoeshe（andthecharactersofhiswork）travelsoconstantly?

OneconceivablereasonisthatlocatinghimselfoutsideJapanmakesitpossibleforhimtoseehowadominantdiscourseframesindividualandsocietalattitudesregardingtheirsurroundingworldandthereinhowtoputtheminperspective.Astheproverbsays,inaforest,onecannotseetheforest;acertaindistanceisnecessaryifonewishesto.Travel―bothphysicalandconceptual―isthemosteasilyaccessiblewayofkeepingadistancefromtheplaceandissuesinquestion.

　　Inhisstrongdesirefordifferentframesofreference,asIhavestated,IkezawaisuniqueinJapan’sliteraryenvironmentalisminwhichalivedsenseofplaceandaresultantplace?

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basedliterarystancearethoughttobethemajorelements.However,thatdoesnotmeanthatthereisnoliteraryprecedent;MatsuoBashoisknownasawonderingpoetandMiyazawaKenjieasilystrolledbetweenhumanitiesandscience.Inaddition,increasingattentionhasbeengiventonon?

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placedwriterssuchasHinoKeizo（日野启三）andMorisakiKazue（森崎和江）,whowerebothraisedinKoreaduringJapan’soccupationandhavedevelopedcriticalviewsfromwhichtheydeconstructtheculturalmatrixofJapanandreconsiderthecultural,political,andaestheticimplicationsofitshumanrelationshipswiththeenvironment.Itisinsuchaliterarylineageoftraveling/non?

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placednessthatIkezawa’sworkshouldbesituated.Still,though,hisworkisremarkableinthedepthofhismovementinthephysicalandconceptualworlds.

　　Visitinganunfamiliarplaceoftenbringsaboutanencounterwiththeother―awayofbeing,thinking,acting,livingthatisfundamentallydifferentfromone’sown―whichmaydisturbandtherebyhelpexpandone’sworldview.LookingforsuchakeyfunctionofcontactwiththeothermaybeanotherreasonwhyIkezawatravelssoavidly.Ishouldmakeitclearthat,unlikethecolonialisticdesirefortheother,whichcharacteristicallyinvolvesahierarchicalbinarydifferencebetweenselfandotheraswellasthatofcenterandperiphery,Ikezawa’sattitudetowardstheothershowsnointentiontointervene.Evenintheearlieststageofhisliterarycareer,itisevidentthatthewriterisawareofthedisparatenatureoftheotherandunderstandstheworld’sindifferencetohim,asisclearlydemonstratedinthefollowingopeningpassagefromhis1987debutstory“StillLife”:

　　Youshouldn’tassumethatthisworldexistsforyourbenefit.Theworldisnotacontainerforyou.

　　Youandtheworldareliketwotreesstandingtogether.Neitherleansontheother;bothgrowerect.

　　Youareawarethatthesplendidtreewecalltheworldisbesideyou,andthismakesyouhappy.Butitmaybethattheworldisbarelyconcernedwithyouatall.（“StillLife”113;somemodificationsaddedtotheoriginaltranslation）

　　Unlikearomanticwriter,Ikezawadoesnotattempttodissolvethedifference,distance,split,gap,orwhateveryouwishtocallit,betweentheindividualandtheworld.Hedoesnotdreamoftranscending,ofunifying.Instead,hesuggests,“［what］mattersistheforgingoflinks,thepassingofmessagesbetweentheouterworldofmountains,people,factoriesandinsectssingingandthewideworldwithin.Evenwhileadistanceismaintainedbetweenthem,thereshouldbeasenseofworldsmovinginunisonorharmony”（“StillLife”113）.Inordertopursueasoundrelationshipwiththeworld,heclaims,weneedaproperdistancefromit;distancedoesnotnecessarilykeeponeawayfromtheworldbutservesasavantagepointfromwhichtofindpassageforcorrespondencebetweendifferentworlds.ItisthisparadoxicalfunctionofdistancethatcharacterizesIkezawa’sliterarystance,fromwhichhecontemplatesabalanced,sustainablefuture.

　　SofarIhaveemphasizedIkezawa’sbeingatravelerinhiscriticalexaminationofsocialsituationsandhisliteraryexplorationofasustainablefuture,butheisnotjustcasuallypassingthroughdifferentplacesoneafteranother.Callinghimself“atravelerwhohasmissedhischancetoleave”（“ALongInterview”52）,Ikezawastayslongenoughtolearnaparticularplace.BorninHokkaidoandraisedinTokyo,hewasinGreeceforthreeyearsinthemid1970s,andinTokyo,beforemovingtoOkinawain1994thentoFontainebleau,Francein2004.ItseemsthatIkezawafluctuatesbetweenlocalculturesandcosmopolitancultures,locatinghimselfsomewherebetweenanativeandasojourner,havingcontactwithbothbutidentifyingwithneither.Ikezawasituateshimselfinnoparticularculture,ornowhere,whichcanbetransformedintonow/her