Kojin Karatani – författare

Nation and Aesthetics is a unique attempt to examine the ambiguous nature of nationalism and nation by examining them through aesthetics. In this translation by Jonathan E. Abel, Darwin H. Tsen, and Hiroki Yoshikuni, Karatani grasps the modern social formation as a nexus of three different "modes of exchange", namely capital-nation-state. Nation here plays the role of complementing capitalism and the state. Benedict Anderson defined nation as an "imagined community". Through rethinking Kant, Karatani suggests that "imagination" here is not a mere fancy, but very real, in the sense that it mediates state and capital. Usually imagination is regarded as fancying what is not present here. Kant grasped imagination as a faculty to imagine what we can understand but cannot sense; that is, to say, a faculty to mediate reason and sensibility. This observation provided the foundation to Modern aesthetics, which in the course of time became an important source of nationalism. In Italy, Germany, and Japan, nationalism appeared as fascism. They found in aesthetics a moment to go beyond capitalism and the state. The key to go beyond nation, Karatani argues, lies also in the thoughts of Kant, a cosmopolitan and an advocate of a world republic. It is well-known that the League of Nations was formed after First World War under the influence of his "Perpetual Peace". Karatani draws attention to the overlooked fact that around the same time Freud made a radical revision of his notion of the "superego". Karatani introduces article nine of Japan's postwar constitution, which renounces the right to wage war, as a crystallization of Kant's ideal of peace and Freud's superego. By providing a unique explanation of, and ways to counter, current nationalistic and imperialistic tendencies, Nation and Aesthetics argues that theories of Kant and Freud, which are usually understood to contrast, are deeply linked and suggest ways to go beyond capital-nation-state.

In Isonomia and the Origins of Philosophy-published originally in Japanese and now available in four languages-Kōjin Karatani questions the idealization of ancient Athens as the source of philosophy and democracy by placing the origins instead in Ionia, a set of Greek colonies located in present-day Turkey. Contrasting Athenian democracy with Ionian isonomia-a system based on non-rule and a lack of social divisions whereby equality is realized through the freedom to immigrate-Karatani shows how early Greek thinkers from Heraclitus to Pythagoras were inseparably linked to the isonomia of their Ionian origins, not democracy. He finds in isonomia a model for how an egalitarian society not driven by class antagonism might be put into practice, and resituates Socrates's work and that of his intellectual heirs as the last philosophical attempts to practice isonomia's utopic potentials. Karatani subtly interrogates the democratic commitments of Western philosophy from within and argues that the key to transcending their contradictions lies not in Athenian democracy, with its echoes of imperialism, slavery, and exclusion, but in the openness of isonomia.

Nation and Aesthetics is a unique attempt to examine the ambiguous nature of nationalism and nation by examining them through aesthetics. In this translation by Jonathan E. Abel, Darwin H. Tsen, and Hiroki Yoshikuni, Karatani grasps the modern social formation as a nexus of three different "modes of exchange", namely capital-nation-state. Nation here plays the role of complementing capitalism and the state. Benedict Anderson defined nation as an "imagined community". Through rethinking Kant, Karatani suggests that "imagination" here is not a mere fancy, but very real, in the sense that it mediates state and capital. Usually imagination is regarded as fancying what is not present here. Kant grasped imagination as a faculty to imagine what we can understand but cannot sense; that is, to say, a faculty to mediate reason and sensibility. This observation provided the foundation to Modern aesthetics, which in the course of time became an important source of nationalism. In Italy, Germany, and Japan, nationalism appeared as fascism. They found in aesthetics a moment to go beyond capitalism and the state. The key to go beyond nation, Karatani argues, lies also in the thoughts of Kant, a cosmopolitan and an advocate of a world republic. It is well-known that the League of Nations was formed after First World War under the influence of his "Perpetual Peace". Karatani draws attention to the overlooked fact that around the same time Freud made a radical revision of his notion of the "superego". Karatani introduces article nine of Japan''s postwar constitution, which renounces the right to wage war, as a crystallization of Kant''s ideal of peace and Freud''s superego. By providing a unique explanation of, and ways to counter, current nationalistic and imperialistic tendencies, Nation and Aesthetics argues that theories of Kant and Freud, which are usually understood to contrast, are deeply linked and suggest ways to go beyond capital-nation-state.

Kojin Karatani wrote the essays in History and Repetition during a time of radical historical change, triggered by the collapse of the Cold War and the death of the Showa emperor in 1989. Reading Karl Marx in an original way, Karatani developed a theory of history based on the repetitive cycle of crises attending the expansion and transformation of capital. His work led to a rigorous analysis of political, economic, and literary forms of representation that recast historical events as a series of repeated forms forged in the transitional moments of global capitalism. History and Repetition cemented Karatani's reputation as one of Japan's premier thinkers, capable of traversing the fields of philosophy, political economy, history, and literature in his work. The first complete translation of History and Repetition into English, undertaken with the cooperation of Karatani himself, this volume opens with his innovative reading of The Eighteenth Brumaire of Louis Bonaparte, tracing Marx's early theoretical formulation of the state.Karatani follows with a study of violent crises as they recur after major transitions of power, developing his theory of historical repetition and introducing a groundbreaking interpretation of fascism (in both Europe and Japan) as the spectral return of the absolutist monarch in the midst of a crisis of representative democracy. For Karatani, fascism represents the most violent materialization of the repetitive mechanism of history. Yet he also seeks out singularities that operate outside the brutal inevitability of historical repetition, whether represented in literature or, more precisely, in the process of literature's demise. Closely reading the works of Oe Kenzaburo, Mishima Yukio, Nakagami Kenji, and Murakami Haruki, Karatani compares the recurrent and universal with the singular and unrepeatable, while advancing a compelling theory of the decline of modern literature. Merging theoretical arguments with a concrete analysis of cultural and intellectual history, Karatani's essays encapsulate a brilliant, multidisciplinary perspective on world history.

Since its publication in Japan ten years ago, Origins of Modern Japanese Literature has become a landmark book, playing a pivotal role in defining discussions of modernity in that country. Against a history of relative inattention on the part of Western translators to modern Asian critical theory, this first English publication is sure to have a profound effect on current cultural criticism in the West. It is both the boldest critique of modern Japanese literary history to appear in the post-war era and a major theoretical intervention, which calls into question the idea of modernity that informs Western consciousness.In a sweeping reinterpretation of nineteenth-and twentieth-century Japanese literature, Karatani Kojin forces a reconsideration of the very assumptions underlying our concepts of modernity. In his analysis, such familiar terms as origin, modern, literature, and the state reveal themselves to be ideological constructs. Karatani weaves many separate strands into an argument that exposes what has been hidden in both Japanese and Western accounts of the development of modern culture. Among these strands are: the "discovery" of landscape in painting and literature and its relation to the inwardness of individual consciousness; the similar "discovery" in Japanese drama of the naked face as another kind of landscape produced by interiority; the challenge to the dominance of Chinese characters in writing; the emergence of confessional literature as an outgrowth of the repression of sexuality and the body; the conversion of the samurai class to Christianity; the mythologizing of tuberculosis, cancer, and illness in general as a producer of meaning; and the "discovery" of "the child" as an independent category of human being.A work that will be important beyond the confines of literary studies, Karatani's analysis challenges basic Western presumptions of theoretical centrality and originality and disturbs the binary opposition of the "West" to its so-called "other." Origins of Modern Japanese Literature should be read by all those with an interest in the development of cultural concepts and in the interrelating factors that have determined modernity.

In this major, paradigm-shifting work, Kojin Karatani systematically re-reads Marx's version of world history, shifting the focus of critique from modes of production to modes of exchange. Karatani seeks to understand both Capital-Nation-State, the interlocking system that is the dominant form of modern global society, and the possibilities for superseding it. In The Structure of World History, he traces different modes of exchange, including the pooling of resources that characterizes nomadic tribes, the gift exchange systems developed after the adoption of fixed-settlement agriculture, the exchange of obedience for protection that arises with the emergence of the state, the commodity exchanges that characterize capitalism, and, finally, a future mode of exchange based on the return of gift exchange, albeit modified for the contemporary moment. He argues that this final stage-marking the overcoming of capital, nation, and state-is best understood in light of Kant's writings on eternal peace. The Structure of World History is in many ways the capstone of Karatani's brilliant career, yet it also signals new directions in his thought.

In this major, paradigm-shifting work, Kojin Karatani systematically re-reads Marx's version of world history, shifting the focus of critique from modes of production to modes of exchange. Karatani seeks to understand both Capital-Nation-State, the interlocking system that is the dominant form of modern global society, and the possibilities for superseding it. In The Structure of World History, he traces different modes of exchange, including the pooling of resources that characterizes nomadic tribes, the gift exchange systems developed after the adoption of fixed-settlement agriculture, the exchange of obedience for protection that arises with the emergence of the state, the commodity exchanges that characterize capitalism, and, finally, a future mode of exchange based on the return of gift exchange, albeit modified for the contemporary moment. He argues that this final stage-marking the overcoming of capital, nation, and state-is best understood in light of Kant's writings on eternal peace. The Structure of World History is in many ways the capstone of Karatani's brilliant career, yet it also signals new directions in his thought.

In Isonomia and the Origins of Philosophy-published originally in Japanese and now available in four languages-Kōjin Karatani questions the idealization of ancient Athens as the source of philosophy and democracy by placing the origins instead in Ionia, a set of Greek colonies located in present-day Turkey. Contrasting Athenian democracy with Ionian isonomia-a system based on non-rule and a lack of social divisions whereby equality is realized through the freedom to immigrate-Karatani shows how early Greek thinkers from Heraclitus to Pythagoras were inseparably linked to the isonomia of their Ionian origins, not democracy. He finds in isonomia a model for how an egalitarian society not driven by class antagonism might be put into practice, and resituates Socrates's work and that of his intellectual heirs as the last philosophical attempts to practice isonomia's utopic potentials. Karatani subtly interrogates the democratic commitments of Western philosophy from within and argues that the key to transcending their contradictions lies not in Athenian democracy, with its echoes of imperialism, slavery, and exclusion, but in the openness of isonomia.

In Isonomia and the Origins of Philosophy—published originally in Japanese and now available in four languages—Kōjin Karatani questions the idealization of ancient Athens as the source of philosophy and democracy by placing the origins instead in Ionia, a set of Greek colonies located in present-day Turkey. Contrasting Athenian democracy with Ionian isonomia—a system based on non-rule and a lack of social divisions whereby equality is realized through the freedom to immigrate—Karatani shows how early Greek thinkers from Heraclitus to Pythagoras were inseparably linked to the isonomia of their Ionian origins, not democracy. He finds in isonomia a model for how an egalitarian society not driven by class antagonism might be put into practice, and resituates Socrates''s work and that of his intellectual heirs as the last philosophical attempts to practice isonomia''s utopic potentials. Karatani subtly interrogates the democratic commitments of Western philosophy from within and argues that the key to transcending their contradictions lies not in Athenian democracy, with its echoes of imperialism, slavery, and exclusion, but in the openness of isonomia.

In this major, paradigm-shifting work, Kojin Karatani systematically re-reads Marx''s version of world history, shifting the focus of critique from modes of production to modes of exchange. Karatani seeks to understand both Capital-Nation-State, the interlocking system that is the dominant form of modern global society, and the possibilities for superseding it. In The Structure of World History, he traces different modes of exchange, including the pooling of resources that characterizes nomadic tribes, the gift exchange systems developed after the adoption of fixed-settlement agriculture, the exchange of obedience for protection that arises with the emergence of the state, the commodity exchanges that characterize capitalism, and, finally, a future mode of exchange based on the return of gift exchange, albeit modified for the contemporary moment. He argues that this final stage—marking the overcoming of capital, nation, and state—is best understood in light of Kant''s writings on eternal peace. The Structure of World History is in many ways the capstone of Karatani''s brilliant career, yet it also signals new directions in his thought.

Since its publication in Japan ten years ago, Origins of Modern Japanese Literature has become a landmark book, playing a pivotal role in defining discussions of modernity in that country. Against a history of relative inattention on the part of Western translators to modern Asian critical theory, this first English publication is sure to have a profound effect on current cultural criticism in the West. It is both the boldest critique of modern Japanese literary history to appear in the post-war era and a major theoretical intervention, which calls into question the idea of modernity that informs Western consciousness.In a sweeping reinterpretation of nineteenth-and twentieth-century Japanese literature, Karatani Kojin forces a reconsideration of the very assumptions underlying our concepts of modernity. In his analysis, such familiar terms as origin, modern, literature, and the state reveal themselves to be ideological constructs. Karatani weaves many separate strands into an argument that exposes what has been hidden in both Japanese and Western accounts of the development of modern culture. Among these strands are: the "discovery" of landscape in painting and literature and its relation to the inwardness of individual consciousness; the similar "discovery" in Japanese drama of the naked face as another kind of landscape produced by interiority; the challenge to the dominance of Chinese characters in writing; the emergence of confessional literature as an outgrowth of the repression of sexuality and the body; the conversion of the samurai class to Christianity; the mythologizing of tuberculosis, cancer, and illness in general as a producer of meaning; and the "discovery" of "the child" as an independent category of human being.A work that will be important beyond the confines of literary studies, Karatani''s analysis challenges basic Western presumptions of theoretical centrality and originality and disturbs the binary opposition of the "West" to its so-called "other." Origins of Modern Japanese Literature should be read by all those with an interest in the development of cultural concepts and in the interrelating factors that have determined modernity.

Originally published in 1974, Kojin Karatani's Marx: Towards the Centre of Possibility has been among his most enduring and pioneering works in critical theory. Written at a time when the political sequences of the New Left had collapsed into crisis and violence, with widespread political exhaustion for the competing sectarian visions of Marxism from 1968, Karatani's Marx laid the groundwork for a new reading, unfamiliar to the existing Marxist discourse in Japan at the time.Karatani's Marx takes on insights from semiotics, deconstruction, and the reading of Marx as a literary thinker, treating Capital as an intervention in philosophy that could be read as itself a theory of signs. Marx is unique in this sense, not only because of its importance in post-'68 Japanese thought, but also because the heterodox reading of Marx that Karatani debuts in this text, centred on his theory of the value-form, will go on to form the basis of his globally influential work.Edited, translated, and with an introduction by Gavin Walker.

Originally published in 1974, Kojin Karatani''s Marx: Towards the Centre of Possibility has been among his most enduring and pioneering works in critical theory. Written at a time when the political sequences of the New Left had collapsed into crisis and violence, with widespread political exhaustion for the competing sectarian visions of Marxism from 1968, Karatani''s Marx laid the groundwork for a new reading, unfamiliar to the existing Marxist discourse in Japan at the time.Karatani''s Marx takes on insights from semiotics, deconstruction, and the reading of Marx as a literary thinker, treating Capital as an intervention in philosophy that could be read as itself a theory of signs. Marx is unique in this sense, not only because of its importance in post-''68 Japanese thought, but also because the heterodox reading of Marx that Karatani debuts in this text, centred on his theory of the value-form, will go on to form the basis of his globally influential work.Edited, translated, and with an introduction by Gavin Walker.

Originally published in 1974, Kojin Karatani's Marx: Towards the Centre of Possibility has been among his most enduring and pioneering works in critical theory. Written at a time when the political sequences of the New Left had collapsed into crisis and violence, with widespread political exhaustion for the competing sectarian visions of Marxism from 1968, Karatani's Marx laid the groundwork for a new reading, unfamiliar to the existing Marxist discourse in Japan at the time.Karatani's Marx takes on insights from semiotics, deconstruction, and the reading of Marx as a literary thinker, treating Capital as an intervention in philosophy that could be read as itself a theory of signs. Marx is unique in this sense, not only because of its importance in post-'68 Japanese thought, but also because the heterodox reading of Marx that Karatani debuts in this text, centred on his theory of the value-form, will go on to form the basis of his globally influential work.

What comes after the death of literature? Kojin Karatani, winner of the 2022 Berggruen Prize, examines the corpse, investigates the cause of death, and offers glimpses of an afterlife from various theoretical perspectives. The End of Modern Literature reimagines the significance and concept of literature.Alongside Karatani's essential essay comes commentary and responses by Fredric Jameson, Bruce Robbins, Kenneth W. Warren, Gauri Viswanathan, Andrew Gibson, Young-il Cho, Yoshiki Tajiri, Michael K. Bourdaghs, and Jonathan E. Abel, along with an introduction that situates Karatani's essay in his theoretical oeuvre.

What comes after the death of literature? Kojin Karatani, winner of the 2022 Berggruen Prize, examines the corpse, investigates the cause of death, and offers glimpses of an afterlife from various theoretical perspectives. The End of Modern Literature reimagines the significance and concept of literature.Alongside Karatani's essential essay comes commentary and responses by Fredric Jameson, Bruce Robbins, Kenneth W. Warren, Gauri Viswanathan, Andrew Gibson, Young-il Cho, Yoshiki Tajiri, Michael K. Bourdaghs, and Jonathan E. Abel, along with an introduction that situates Karatani's essay in his theoretical oeuvre.