일본적 미의 지층과 가와바타 야스나리 = The Japanese Beauty Stratum and Kawabata Yasunari

다국어 초록 (Multilingual Abstract)

Kawabata Yasunari, the first Japanese to be awarded the Nobel Prize in Literature, received the award in 1969. On the occasion, he delivered a commemorative speech Japan, the Beautiful and Myself: An Introduction (美しい日本の私-その序說) at the Swedish Academy, which was a groundbreaking event that achieved the recognition of “beautiful Japan” worldwide.
What is the “beautiful Japan” that Kawabata underlined to such a great extent? After Japan’s defeat in the World War II, he proclaimed to return to the “tradition of Japanese beauty,” “old mountains and streams,” and “ancient Japan” at every occasion. It was a kind of measure available to stitch up and settle the situation after the defeat, in that postwar scars and pains could be patched up as far as a direct link could be built between the “ancient Japan” and “present Japan.” The experience of losing wars was not imprinted on the “ancient Japan.” Accordingly, if the “ancient Japan” that remained a “pure and beautiful time” could be wholly and newly obtained in such a postwar situation, the concept including “Japan,” “Japanese race,” and “Japanese tradition” could be seamlessly resurrected, leaving the war period vacant. On this account, Kawabata highly appreciated the classical literature that is distant from the modern Western literature and emphasized the classical literature’s inherent essence of Japanese beauty. In this context, it may be that Kawabata’s adherence to the “Japanese beauty” after the defeat was an act of active forgetting and reconstructing in relation to the war or defeat.
Meanwhile, it is an undeniable truth that the virtual reality and fictional truth in the “beautiful Japan” were gradually pervading the postwar conversation, as Kawabata’s symbolic authority and narrative were introduced. In addition, it is notable that Kawabata’s aesthetic worldview is widely cited in today’s Japanese society as a political rhetoric or ruling strategy.
Once invoked in the contexts of globalization or nation-state, the “beautiful Japan” still actively constitutes an emotional community.

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