Yukio Mishima's literary work, "Kinkaku-ji," delves into the portrayal of a young man ensnared by imaginary fetishism. Mizoguchi's arson act is profoundly influenced by this deification. The protagonist, Mizoguchi, struggles with the dichotomy between excessive aesthetic idolatry rooted in the imagined Kinkaku-ji and the flawed existence of the real Kinkaku-ji. This essay explores how his internal conflict, shaped by fetishism, weaves complex factors, including deification and alienation, ultimately culminating in his resolve to set Kinkaku-ji ablaze. In summary, this thesis (...) concludes that Mizoguchi imperative for arson lies in his pursuit of establishing the absolute nature of the imagined Kinkaku-ji. (shrink)

This paper tries to capture Salvador Dali’s conception of a genius in his Diary of a Genius. The Japanese writer Mishima strikes me as of a comparable level, but if so it seems he either does not think of himself as a genius or he has a different conception of genius.

This chapter argues that political promises do not have to be made by individual politicians. Rather, multiparty discourses may be attributed to political leaders, a process labeled metaphorical promising. It analyzes Yukio Hatoyama's brief (2009-2010) reign as Prime Minister of Japan. Hatoyama was forced to resign amid charges that he had failed to remove a US military base from Futenma, Okinawa. Although Japanese newspapers accused him of breaking promises to move the base, Hatoyama had never explicitly promised to do (...) so. Expectation for change arose through a complex discourse involving the government, opposition, and Japanese media, among others. As political leader, Hatoyama failed to take difficult steps toward military reform. As peace is not merely the absence of war, political accord is more than the absence of divisive speech. Japan's experience reminds us that accord and mutual agreement must be sought through active engagement throughout society. (shrink)