Confessions of a Mask by Yukio Mishima

By Yukio Mishima

One of the classics of contemporary jap fiction.
Confessions of a Mask is the tale of a teenager who needs to discover ways to reside with the painful proven fact that he's in contrast to different younger males. Mishima's protagonist discovers that he's changing into a gay in well mannered, post-war Japan. to outlive, he needs to dwell in the back of a masks of propriety.

Christopher Isherwood comments—"One may say, 'Here is a eastern Gide,'....But no, Mishima is himself—a very eastern Mishima; lucid in the course of emotional confusion, humorous in the middle of melancholy, relatively with no pomposity, sentimentality or self-pity. His e-book, like no different, has made me comprehend a bit of the way it feels to be jap. i feel it really is drastically better, as paintings and as a human record to his deservedly praised novel, The Sound of Waves."

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These phenomena are registered repeatedly in the texts with which we are concerned in this book, but we will begin by exploring how they are played out through the styles and strategies of one postfeminist icon, Madonna, and the generations of female artists who have been identified as the potential inheritors of her mantle. Madonna and child? On 13 February 2011 Lady Gaga arrived at the 53rd Annual Grammy Awards in Los Angeles encased in a giant egg. As the makeshift womb bobbed above the crowds lining the red carpet, carried aloft by four rubber-clad male models, her creative director explained that Lady Gaga was ‘incubating’ and would not be ‘born’ until her performance that evening.

If feminism is an ontology, a way of being, then it is also a hauntology in the Derridean sense – a way of being that is shaped by anxieties about the past, concern for the future and an overarching uncertainty about its own status and ability to effect change in a world where its necessity is perpetually cast into doubt. As a meditation on politics after the ‘death of communism’, or what Francis Fukuyama augurs as the ‘end of history’, Specters of Marx shows how the ghosts of communist revolution continue to haunt the living present as signs of what might have been, and what might yet still be; they are, in essence, ghosts of political possibility.

Even in Walby’s account of feminism’s rude health, its distorted appearance and decreased visibility imply a peculiar ghostliness: if it is not dead, it is not alive in the same way that once it was. As Walby’s reflections indicate, the repeated – if erroneous – sounding of feminism’s death knell has altered the movement’s appearance within the popular imaginary; suspended somewhere between life and death, it is marked by both presence and absence. What, then, are the implications of this position?

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