Post by Teng Lai Chang on Oct 8, 2015 4:39:50 GMT
In both "Aguri" and "Portraits of an Old Geisha," there is a give and take relationship between the old and the young, and power dynamics play a heavy role in how the characters interact with one another. However their relationship and interactions are very different in each story.
In "Aguri" by Tanizaki Junichiro, it is interesting to see how the power dynamics between Aguri and Okada define their relationship. We see how weak and subservient Okada is whenever he's with Aguri, complying to all her needs and demands such as buying her that dress or those shoes. Aguri, on the other hand, is narcissistic, young, and self-loving. She loves all the attention and money she receives from Okada. Her only interest is Okada's money to fulfill her desires for clothes and luxury. Despite the lack of control Okada has in this relationship, he is nonetheless receiving joy and youth from Aguri. The presence of Aguri and her porcelain skin provide Okada the sexual pleasure and drive that he probably missed and enjoyed during his youth. Okada wishes to have the young and energetic nature that emits from Aguri, which contrasts from his weak and emaciated self.
On the other hand, in "Portraits of an Old Geisha," by Okamoto Kanoko, we see that the power dynamic is expressed in a different way. While it is obvious Aguri has the upper hand in her relationship with Okada, it is less obvious in Kosono's and Yuki's interactions. Kosona, who represents the older, mother figure, wants Yuki to accomplish his dreams and goals that she had missed in her youth (Kosono's life had always been lacking because she never felt accomplished with anything - neither work nor love). She sees the potential and time that Yuki has and hopes Yuki can "accomplish what she herself had failed to do" (92). This type of life can be very manipulative and oppressive as Yuki's stuck in an environment where there is no freedom and passion. While Yuki provides Kosono's lost time and accomplishment, Yuki receives shelter, food, and an environment where he can fulfill his dreams and passion as an engineer. However, we see this passion growing weaker and weaker, which may have resulted from the mundane, tedious, and tiring experiences he had with his experiments and dream of becoming an engineer.
The relationships in both "Aguri" and "Portraits of an Old Geisha" juxtapose the traditional, Japanese culture with the dominant and influential western culture. While both cultures intermingle and coexist, they may cause confusion in people's lifestyle and identity. Japanese people's infatuation with western culture can be so beautiful and captivating, but destructive and devastating at the same time. In "Aguri," Okada likes how beautiful the western dresses look on Aguri, while looking down on the Japanese kimono she wears. However, Okada, himself, feels suffocated and weak when he's in western suits: "Get me out of these clothes and put me in something soft" (68). These western suits are not made for everyone, and you shouldn't force themselves if they don't fit you. In "Portraits of an Old Geisha," Kosono is infatuated with the conveniences of modern technology and wants to adapt to the new modern Japan. However, the modern lifestyle may not always fit her as she always relies on others to fix her electricity and technology. Westernization and modernization may have become widespread and mainstream in Japan, but the authors may be hinting that Japanese people are trying to maintain and sustain their roots and the very essence of their unique Japanese culture.
Discussion Questions: 1. Why did the author choose to name the title "Aguri" instead of "Okada"? 2. What's the importance of using Kosono's waka poetry teacher as the narrator?
In "Aguri" by Tanizaki Junichiro, it is interesting to see how the power dynamics between Aguri and Okada define their relationship. We see how weak and subservient Okada is whenever he's with Aguri, complying to all her needs and demands such as buying her that dress or those shoes. Aguri, on the other hand, is narcissistic, young, and self-loving. She loves all the attention and money she receives from Okada. Her only interest is Okada's money to fulfill her desires for clothes and luxury. Despite the lack of control Okada has in this relationship, he is nonetheless receiving joy and youth from Aguri. The presence of Aguri and her porcelain skin provide Okada the sexual pleasure and drive that he probably missed and enjoyed during his youth. Okada wishes to have the young and energetic nature that emits from Aguri, which contrasts from his weak and emaciated self.
On the other hand, in "Portraits of an Old Geisha," by Okamoto Kanoko, we see that the power dynamic is expressed in a different way. While it is obvious Aguri has the upper hand in her relationship with Okada, it is less obvious in Kosono's and Yuki's interactions. Kosona, who represents the older, mother figure, wants Yuki to accomplish his dreams and goals that she had missed in her youth (Kosono's life had always been lacking because she never felt accomplished with anything - neither work nor love). She sees the potential and time that Yuki has and hopes Yuki can "accomplish what she herself had failed to do" (92). This type of life can be very manipulative and oppressive as Yuki's stuck in an environment where there is no freedom and passion. While Yuki provides Kosono's lost time and accomplishment, Yuki receives shelter, food, and an environment where he can fulfill his dreams and passion as an engineer. However, we see this passion growing weaker and weaker, which may have resulted from the mundane, tedious, and tiring experiences he had with his experiments and dream of becoming an engineer.
The relationships in both "Aguri" and "Portraits of an Old Geisha" juxtapose the traditional, Japanese culture with the dominant and influential western culture. While both cultures intermingle and coexist, they may cause confusion in people's lifestyle and identity. Japanese people's infatuation with western culture can be so beautiful and captivating, but destructive and devastating at the same time. In "Aguri," Okada likes how beautiful the western dresses look on Aguri, while looking down on the Japanese kimono she wears. However, Okada, himself, feels suffocated and weak when he's in western suits: "Get me out of these clothes and put me in something soft" (68). These western suits are not made for everyone, and you shouldn't force themselves if they don't fit you. In "Portraits of an Old Geisha," Kosono is infatuated with the conveniences of modern technology and wants to adapt to the new modern Japan. However, the modern lifestyle may not always fit her as she always relies on others to fix her electricity and technology. Westernization and modernization may have become widespread and mainstream in Japan, but the authors may be hinting that Japanese people are trying to maintain and sustain their roots and the very essence of their unique Japanese culture.
Discussion Questions: 1. Why did the author choose to name the title "Aguri" instead of "Okada"? 2. What's the importance of using Kosono's waka poetry teacher as the narrator?