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• W1607751707 abstract "The work a text does has long been of critical interest. Yasunari Kawabata's Snow Country is a text works not toward ideological effect but for personal effect. By applying Deleuze and Guattari's notion of the'rhizome to the novel, Snow Couhtrybecomes a multiplicity, an ever-growing system of constantly moving threads ,or ~ elements. These elements represent the exteriority is interiority, form is substance. Furthermore, these threads make up the exteriority intersect with each other in a random and haphazard fashion, at each intersection offering a different reading or map. Thus, in Snow Country, the intersections occur between the train, snow country, Shimamura, the ballet, Komako, the novel and the short story create a plurality of geographical, political, I; aesthetic, and historical maps continuously move and meet amongst . themselves. Such irite-isecti-bnEf and-mappings take-the novel away from a traditional cultural work of literature, to either reflect the world or affect the world by disavowing or reaffirming power. Instead, the novel works on a micro-level, establishing personal agency for the reader~s engagement with the text and' the wo~ld. ) Mapping Yasunari Kawabata's Multiplicity: Reading Snow Country as Rhizome In her essay on Yasunari Kawabata's Snow Country, Iraphne·R. W. Childs asserts that the plot is simple, and in itsel£ does not make Snow Country a literary masterpiece. This is achieved through Kawabata's uniquely Japanese styleandsymbolism.l .This stat~ment seems to beg the questions' of what Kawabata's style is, what meaning lies behind the symbolism, and how the two -' style and symbolism , work to ~reate th~s.magnum opus. '. For Childs, Kawabata's style i~ this novel is based on the haiku tenets of motion and silence, and. this style se.rves as the vehicle throU<;Jh which symbolism nature as harmonious with human existence works. 2 'Yet I make reference to Childs not for her interpretation of the novel but for the duality her comment indirectly introduces .. Style becomes associated with form or 'object, symbolism with meaning or subject. In this sense, the power g of Snow Country stems from one of the oldest and most rigid of -binaries. Reading-~henovelin-this-way-is-certainl-y;;logical.After all, dualities, whether thematic, imagistic, or symbolic, flood the text: past and present, ideal and real, city and country, tradition and change, b~auty and ugliness, joy and pain, and man and woman. Hence, style and symbolism form and meaning exist as two separate aspects of the novel work together to·create a great whole. What 'happens, though, when this duality collapses, when form becomes meaning? Here, I turn to Deleu~e and Guattari because they offer a means oLLeading Snow Country as a text in which this binary has collaps~d. -------~--_.'------~-------..:..._--~~~---------'-_.-~_._-----.----_._--------~'.------._-_.. In the introduction to A Thousand Plateaus, Deleuze and Guattari discuss the book as rhizome. According to Deleuze and Guattari, a" @default.
• W1607751707 created "2016-06-24" @default.
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• W1607751707 date "2000-01-01" @default.
• W1607751707 modified "2023-09-27" @default.
• W1607751707 title "Mapping Yasunari Kawabata's Multiplicity : reading Snow country as Rhizome" @default.
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