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Aesthetics, Psychology and the Value of the Author in Early 20Th-Century Japan

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Aesthetics, Psychology and the Value of the Author in Early 20Th-Century Japan Cultivated Madness: Aesthetics, Psychology and the Value of the Author in Early 20th-Century Japan Pau Pitarch Fernández Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Pau Pitarch Fernández All rights reserved ABSTRACT Cultivated Madness: Aesthetics, Psychology and the Value of the Author in Early 20th-Century Japan Pau Pitarch Fernández This dissertation analyzes how the motif of the “morbid genius” became a central concept for the formation of the literary field in 1910s and 1920s Japan. Writers deployed the idea that artistic creativity is a form of mental abnormality in order to carve a privileged space for themselves as “modern authors,” at a time when literary writing was becoming professionalized. Psychological abnormality offered both a mark of modernity, as well as a set of aesthetic, medical and political discourses to legitimize a notion of literary value based on the artist's unique experience of the world. This discourse of uniqueness was often contrasted with the logic of economic profit, as if the authors' abnormality were proof that their works had value beyond the price they commanded as a commodity in the mass cultural market. However, it was precisely this configuration of literary value as extra-economical that made possible the creation of a privileged space for literature within the cultural economy of value. Chapter 1 traces the origins of medicalized concepts of “morbid genius” and their reception and development in modern Japan. I argue that by the 1910s, psychological abnormality had become naturalized in Japan as a key feature of “modern literature.” Next, I look at the circulation of biographical literature on 19th-century European artists in Japan. While relatively rare before, modern artists become the dominant subject in biographical literature published after 1914. This interest in the lives of European artists appears actually at the same time that their works became widely available in translation, establishing a very close connection between their oeuvre and their pathological diagnosis. The rest of the chapter is devoted to the discussions of artistic pathology in the popular psychology journal Hentai shinri (Abnormal Psychology, 1917-1926), both in the form of “pathographies” of 19th-century European artists, and in writings by 1920s Japanese authors on their own experiences with psychological abnormality. Chapter 2 focuses on the early works of Tanizaki Jun'ichirō (1886-1965), looking specifically at stories that explore the moral and aesthetic implications of the ideal of the “morbid genius” in the context of the modern cultural market. I interpret Tanizaki's use of psychological abnormality motifs as an attempt to construct a model of artistic development that is markedly different from established narratives of bourgeois and academic success, exploring an idea of artistic value as originated in the unique psyche of the artist. Tanizaki’s texts highlight the ambivalent position of the modern artist by focusing on protagonists who waver between the lure of the “morbid genius” image, and the need to participate in the economic exchange of the cultural market to achieve recognition as artists. Chapter 3 is devoted to the early writings of Satō Haruo (1892-1964). I analyze his utopian theory of art as a path towards one’s “highest self,” and a space of resistance against the uniformization of human experience and alienation from one’s labor brought by the industrial economy. Against this background, I highlight in his fiction the contradictory interplay between the unique morbid sensibility of artists, and the demands of their professional position in the modern economy. To close, I propose Satō's 1920s writings about Taiwan as an endpoint for this utopian project, when his fascination with abnormal creativity encounters the harsh realities of colonial violence. Chapter 4 looks at the works of Akutagawa Ryūnosuke (1892-1927). I understand Akutagawa's experiments with fragmented narrative form as an extension of his interest in abnormal perception, and not as the crisis of a previously unproblematic and self-contained “modern artist.” Akutagawa's historical fiction and critical texts, as well as his obsession with the risk of an inherited madness, show that his idea of the “modern artist” was always based on liminal figures that struggled with the taxing demands of artistic activity. I close the chapter with Akutagawa’s re-telling of the life of Christ, to consider how the discourse of abnormal genius, and artistic labor by extension, gains an existential dimension when used to re-interpret the New Testament and celebrate artists as “christs.” Table of Contents Introduction - Mental Abnormality and the Modern Literary Field ......................................1 Chapter One - Madness as Modernity ...................................................................................13 Chapter Two - Performing Abnormal Genius: Tanizaki Jun'ichirō and the Formation of the Literary Field .................................................78 Chapter Three - Topographies of Aestheticism: Satō Haruo and the Limits of Artistic Utopia ........................................................................139 Chapter Four - The Making of the Artist: Akutagawa Ryūnosuke and the Fashioning of a Morbid Psyche ..........................................197 Epilogue .................................................................................................................................247 Selected Bibliography ............................................................................................................253 i Acknowledgements This dissertation would not have been possible without the generous support of a great number of people. My advisor Professor Tomi Suzuki provided constant guidance and encouragement at every step of the process. Endlessly generous with her time, she has helped me keep this project afloat through its many turns, offering the perfect combination of constructive and insightful criticism, supportive comments and infectious laughter. Professor Paul Anderer has always been warmly supportive and gracious with his time and expertise, providing constant intellectual inspiration. Professor Haruo Shirane has been an invaluable mentor, always ready with the perfect question to stimulate my thinking, and tireless in his everyday support. Professor Theodore Hughes has been an inestimable model for how to be a teacher, and a warm and encouraging interlocutor. I would also like to thank Professor Seiji Lippit at UCLA for agreeing to be part of my dissertation committee on short notice, and for his very helpful feedback. The Department of East Asian Languages and Cultures and the Weatherhead East Asian Institute of Columbia University have supported me throughout my graduate studies. My year of research in Japan was conducted thanks to a generous Japanese Studies Fellowship from Japan Foundation. At Waseda University I benefitted from the guidance of Professor Toeda Hirokazu, whose brilliant insights and warm encouragement helped me immensely. Our conversations never failed to motivate me and open up new perspectives on my materials. I also want to thank my MA advisor Professor Ellis Toshiko at the University of Tokyo, ii as well as Professors Fujii Sadakazu, Mary Knighton, Komori Yōichi and Tanji Ai, for all their guidance and patience during my years at Komaba. Without their help, I would have never been able to even start conceiving this dissertation. I have been very lucky to find many generous friends and comrades throughout my many years as a graduate student in Barcelona, Tokyo and New York. For their constant moral support and stimulating ideas, thanks are due to David Atherton, Isabel Clúa Ginés, Anatoly Detwyler, Dennitza Gabrakova, Tom Gaubatz, Nan Ma Hartmann, Tatiana Linkhoeva, Gabriel McNeill, Naitō Mariko, Greg Patterson, Sakasai Akito, Nate Shockey, Ariel Stilerman, Myra Sun, Shiho Takai, Tyler Walker, Charles Woolley, Christina Yi, Hitomi Yoshio and many others. I would also like to thank all the library staff at Columbia University, Waseda University and the University of Tokyo for their patience and dedication. My parents, Ismael and Julia, and my brother Daniel deserve thanks for many years of support. Lastly, I would like to thank my wife Debbie for her unwavering love and encouragement through all my struggles. iii Introduction Mental Abnormality and the Modern Literary Field In the December 1, 1917 entry of his “Jiyū nikki” (“Free Diary”), future Nobel Prize winning author Kawabata Yasunari (1899-1972) wrote: “I read Mr. Sawada [Junjirō]’s Hentai seiyokuron (Abnormal Sexuality).1 I read [Cesare] Lombroso’s Tensairon (On Genius).2 I find quite a resonance in both of them. I must accept that several of those traits exist within me.”3 Since Lombroso's book was a detailed scientific explanation of genius as a form of neurosis, finding abnormal psychological traits within himself helped the teenage Kawabata assuage his fears that he may not be a literary genius, of which he writes at length in other sections of his high school diaries. Even if it eventually led to madness, psychological abnormality was for him a necessary byproduct of literary talent. Twenty-five years earlier, and inspired by Lombroso's work, Austro-Hungarian critic Max Nordau's Entartung (Degeneration),4 had included the French novelist Émile Zola (1840- 1902) in a long
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