Assignment of Paper: 107 “Memory, National Identity, and Moral Responsibility: Revisiting An Artist of the Floating World in the Context of Contemporary Debates on Historical Accountability and Collective Memory”

  

Paper 107: The Twentieth Century Literature: From World War II to the End of the Century 

 

Assignment of Paper: 107 “Memory, National Identity, and Moral Responsibility: Revisiting An Artist of the Floating World in the Context of Contemporary Debates on Historical Accountability and Collective Memory” 

 

Table of Content:  

 

1. Abstract

2. Keywords

3. Research Questions

4. Hypothesis

5. Introduction

6. Historical Background: Imperial Japan and the Transformation of National Identity
   6.1 Imperial Ideology and Cultural Institutions
   6.2 Postwar Reconstruction and Cultural Change

7. Memory and the Unreliable Narrator
   7.1 Personal Memory as Self-Justification
   7.2 Memory, Identity, and Narrative Perspective

8. National Identity and Generational Conflict
   8.1 Changing Social Values in Postwar Japan
   8.2 The Cultural Reinterpretation of History

9. Moral Responsibility and Historical Accountability
   9.1 The Ethical Dilemma of the Wartime Generation
   9.2 Ideology and Personal Accountability

10. Collective Memory and Contemporary Relevance
    10.1 Literature and Cultural Memory
    10.2 Relevance to Modern Debates on Historical Accountability

11. Conclusion

12. References

 

Academic Details  

• Name: Sandhya Bhut  
• Roll No.: 25  
• Enrollment No.: 5108250004  
• Sem.: 2  
• Batch: 2025 - 2026  
• E-mail: sandhyabhut06@gmail.com 

  

Assignment Details  

• Paper Name: The Twentieth Century Literature: From World War II to the End of the Century 
• Paper No.: 107 
• Paper Code: 22400  
• Unit:  4 - Kazuo Ishiguro’s An Artist of the Floating World  
• Topic: “Memory, National Identity, and Moral Responsibility: Revisiting An Artist of the Floating World in the Context of Contemporary Debates on Historical Accountability and Collective Memory” 
• Submitted To: Smt. Sujata Binoy Gardi, Department of English, Maharaja Krishnakumarsinhji Bhavnagar University  
• Submitted Date:   

  

The following information—numbers are counted using Quill Bot. 

• Images: 4
• Words: 2262 
• Characters: 16323 
• Characters without spaces: 14144 
• Paragraphs: 85 
• Sentences: 169 
• Reading time: 9 m 3 s 

 

Abstract 

This research paper examines the relationship between memory, national identity, and moral responsibility in An Artist of the Floating World by Kazuo Ishiguro within the historical context of post–Second World War Japan. The novel presents the reflections of Masuji Ono, a retired painter who once contributed to nationalist propaganda during Japan’s imperial period. Through Ono’s fragmented and often unreliable recollections, the narrative explores how individuals reinterpret their past actions in response to changing political and cultural values. The study investigates how personal memory intersects with collective memory and how these processes influence the construction of national identity. By analyzing Ono’s narrative perspective and the generational tensions portrayed in the novel, this research argues that Ishiguro illustrates the psychological mechanisms through which individuals attempt to justify or reinterpret their involvement in controversial historical events. Furthermore, the paper situates the novel within broader contemporary debates about historical accountability and the ethics of remembering the past. Ultimately, the study demonstrates that Ishiguro’s work highlights the complexities of confronting national history and emphasizes the role of literature in shaping discussions about moral responsibility and collective memory. 

 

Keywords 

Memory, Collective Memory, National Identity, Moral Responsibility, Historical, Accountability, Postwar Japan, Unreliable Narrator, Cultural Memory 

 

Research Questions 

1. How does An Artist of the Floating World portray the relationship between personal memory and national history in postwar Japan? 
2. In what ways does Masuji Ono’s narration reveal the psychological mechanisms through which individuals reinterpret their past actions? 
3. How does the novel represent the transformation of national identity in Japan after the Second World War? 
4. How does Kazuo Ishiguro use the theme of memory to explore questions of moral responsibility and historical accountability? 
5. What role does generational conflict play in shaping different interpretations of Japan’s wartime past? 

 

Hypothesis 

This study hypothesizes that Kazuo Ishiguro uses the unreliable narration of Masuji Ono in An Artist of the Floating World to demonstrate that memory is a subjective and reconstructive process shaped by psychological needs and social pressures. The novel suggests that individuals who participated in nationalist ideology often reinterpret their past actions in order to preserve personal dignity and avoid moral accountability. Through this narrative strategy, Ishiguro critiques the ways in which societies attempt to reconcile their historical past with contemporary values. Consequently, the novel reveals that the construction of national identity is closely connected to the selective nature of collective memory and the ongoing negotiation of historical responsibility. 

 

1. Introduction

Literature often functions as a medium through which societies examine their past and reflect on the ethical implications of historical events. In the aftermath of war or political transformation, writers frequently explore the complex relationship between personal memory, national identity, and moral responsibility. One significant literary example of this exploration can be found in An Artist of the Floating World by Kazuo Ishiguro. 

The novel, published in 1986, is set in post–Second World War Japan and narrated by Masuji Ono, an aging painter who once supported nationalist ideology through propaganda art. Through Ono’s recollections of his past career, Ishiguro presents a subtle examination of how individuals interpret and reinterpret their memories in response to changing social values. The narrative gradually reveals that Ono’s memories are selective and sometimes unreliable, suggesting that memory is not simply a factual record of events, but a psychological process shaped by personal and cultural influences. 

At one point in the narrative, Ono reflects on his earlier beliefs and admits: 

“I suppose I had at that time a rather grand view of my own importance.” 
(Ishiguro, 1986) 

This admission highlights the central theme of the novel: the tension between personal memory and historical reality. Ono attempts to maintain a sense of dignity by framing his actions as patriotic contributions, yet the social changes of postwar Japan force him to reconsider the moral implications of his past. 

This paper explores how Ishiguro’s novel engages with the themes of memory, national identity, and moral responsibility within the historical context of postwar Japan. By analyzing Ono’s unreliable narration and the cultural transformation occurring around him, the study demonstrates how the novel contributes to contemporary debates about historical accountability and collective memory. 

 

2. Historical Background: Imperial Japan and the Transformation of National Identity 

  

 

2.1 Imperial Ideology and Cultural Institutions 

To understand the themes of the novel, it is important to consider the historical context in which the story takes place. During the late nineteenth and early twentieth centuries, Japan underwent rapid modernization and expansion. National identity became closely linked to imperial ideology, which emphasized loyalty to the emperor, devotion to the nation, and the moral duty of citizens to support state policies. 

Education and cultural institutions played an important role in promoting these values. The Imperial Rescript on Education encouraged citizens to prioritize loyalty and sacrifice for the nation. According to Yutaka Okuhata, this ideological system created a moral framework that strongly shaped Japanese society during the prewar period (Okuhata, 2022). 

Artists and intellectuals were also encouraged to contribute to nationalist culture. Paintings, literature, and other artistic forms often depicted themes of patriotism, military bravery, and national unity. Within this environment, artists such as Masuji Ono could easily believe that their work served a noble purpose. 

 

2.2 Postwar Reconstruction and Cultural Change 

Japan’s defeat in 1945 brought dramatic political and cultural changes. Under the American occupation, the country introduced democratic reforms that transformed its political system, educational institutions, and cultural values. The ideology that had once justified imperial expansion was now widely criticized. 

Peter Sloane observes that postwar Japanese society experienced “a profound cultural reorientation in which the values of imperial nationalism were replaced by democratic ideals” (Sloane, 2017). This transformation created tensions between generations, as younger individuals increasingly questioned the beliefs that had shaped their parents’ generation. 

The historical transition depicted in Ishiguro’s novel reflects this broader social change. Characters in the story represent different responses to the past: some attempt to forget it, while others struggle to reinterpret their memories in light of new moral standards. 

 

3. Memory and the Unreliable Narrator 

 

3.1 Personal Memory as Self-Justification

One of the most distinctive aspects of Ishiguro’s narrative technique is the use of an unreliable narrator. Masuji Ono recounts his past with confidence, describing himself as a respected artist who played an influential role in shaping cultural discourse during the war years. However, subtle contradictions within his narrative gradually reveal that his memories may not be entirely accurate. 

Ono frequently portrays his artistic work as a patriotic contribution to society. Reflecting on his earlier career, he states: 

“In those days I believed deeply in the importance of my work.” 
(Ishiguro, 1986) 

This statement suggests that Ono viewed his paintings as morally justified because they served the national cause. Yet as the narrative progresses, it becomes clear that this perspective may represent a form of self-justification rather than an objective account of history. 

 

3.2 Memory, Identity, and Narrative Perspective 

Critics have noted that Ishiguro deliberately constructs narratives in which the narrator’s voice reveals hidden tensions between memory and reality. Dominic Dean argues that Ishiguro’s storytelling exposes how individuals reshape their past experiences to maintain a coherent sense of identity (Dean, 2019). 

Ono’s recollections therefore function as a form of psychological defense. By emphasizing the patriotic intentions behind his work, he attempts to avoid confronting the possibility that his art may have supported a destructive political ideology. The fragmented structure of the narrative reflects the instability of memory itself, illustrating how personal identity is constructed through selective recollection.  

4. National Identity and Generational Conflict 

 4.1 Changing Social Values in Postwar Japan 

As Japanese society begins to rebuild after the war, the values that once defined national identity come under scrutiny. Younger characters in the novel express attitudes that differ significantly from those of the older generation. 

This generational shift becomes particularly visible during the marriage negotiations involving Ono’s daughter Noriko. In traditional Japanese culture, family reputation played a crucial role in determining marriage prospects. As a result, Ono becomes increasingly concerned that his wartime activities may damage his daughter’s chances of finding a suitable partner. 

During one reflection, Ono remarks: 

“People nowadays seem to have little patience with the past.” 
(Ishiguro, 1986) 

This observation illustrates the changing cultural attitudes of postwar Japan. While Ono’s generation once viewed nationalist ideology as honorable, the younger generation often interprets it as a source of shame or embarrassment. 

 

4.2 The Cultural Reinterpretation of History 

Peter Sloane argues that Ishiguro’s depiction of generational conflict reflects the broader cultural transformation that occurred during the American occupation of Japan (Sloane, 2017). The introduction of democratic values encouraged citizens to question the ideological foundations of imperial nationalism. 

As a result, national identity became a subject of negotiation and reinterpretation. Older individuals like Ono struggled to reconcile their former beliefs with the new social environment, while younger people sought to distance themselves from the wartime past. 

 

5. Moral Responsibility and Historical Accountability 

 

5.1 The Ethical Dilemma of the Wartime Generation 

One of the most important questions raised by the novel concerns the nature of moral responsibility. To what extent should individuals be held accountable for supporting political systems that were widely accepted during their time? 

Ono’s reflections suggest that he genuinely believed he was acting in the best interests of his country. However, the moral perspective of postwar society forces him to reconsider the consequences of his actions. 

In discussing his approach to writing, Ishiguro has explained: 

“People often create versions of their past that allow them to live with themselves.” 
(Shaffer & Ishiguro, 2001) 

This observation helps explain why Ono struggles to fully acknowledge the implications of his artistic work. Rather than openly admitting guilt, he gradually reframes his memories in ways that reduce his sense of responsibility. 

 

5.2 Ideology and Personal Accountability 

Yutaka Okuhata suggests that individuals shaped by nationalist ideology often experience difficulty reconciling their beliefs with later moral standards (Okuhata, 2022). In this sense, Ono’s internal conflict reflects the broader psychological challenges faced by many members of the wartime generation. 

The novel therefore raises important ethical questions about how societies should evaluate historical responsibility. Instead of presenting a simple moral judgment, Ishiguro portrays the complexity of human motivation and the influence of cultural ideology. 

 

6. Collective Memory and Contemporary Relevance 

 

6.1 Literature and Cultural Memory 

Beyond the experiences of its narrator, the novel also addresses the concept of collective memory. Collective memory refers to the shared interpretation of historical events that shapes a community’s cultural identity. 

Unlike official historical records, collective memory is influenced by personal narratives, cultural traditions, and social discourse. As a result, societies often reinterpret their histories in ways that reflect contemporary values. 

Jamali and his colleagues argue that the novel demonstrates how personal memory interacts with broader cultural narratives to shape national identity (Jamali et al., 2024). 

 

6.2 Relevance to Modern Debates on Historical Accountability 

The themes explored in Ishiguro’s novel remain highly relevant to contemporary discussions about historical accountability. Many nations continue to debate how to confront controversial aspects of their pasts, including colonialism, war crimes, and political oppression. 

By focusing on the psychological dimension of memory, Ishiguro suggests that confronting history requires more than simply acknowledging facts. It also involves examining the narratives that individuals and societies construct about their past.  

7. Conclusion 

An Artist of the Floating World offers a profound exploration of memory, national identity, and moral responsibility within the historical context of postwar Japan. Through the perspective of Masuji Ono, Kazuo Ishiguro illustrates how individuals reinterpret their past actions in response to changing cultural values and social expectations. 

The novel demonstrates that memory is not a neutral record of historical events, but a complex and often unstable process shaped by psychological needs and ideological influences. Ono’s unreliable narration reveals how individuals construct narratives that allow them to preserve their sense of dignity while avoiding uncomfortable truths. 

At the same time, the novel reflects broader debates about historical accountability and collective memory. By portraying the moral dilemmas faced by individuals who supported nationalist ideology, Ishiguro invites readers to consider how societies should confront difficult histories. 

Ultimately, Ishiguro’s work remains an important literary exploration of the relationship between memory, identity, and responsibility. 

 

8. References:   

 

Charlwood, Catherine. “Quiet and personal, or resoundingly universal? an ishiguro crisis.” English Studies, vol. 103, no. 7, 3 Oct. 2022, pp. 1045–1064, https://doi.org/10.1080/0013838x.2022.2150940.  

 

Dean, Dominic. “Violent authenticity: The politics of objects and images in Ishiguro.” Textual Practice, vol. 35, no. 1, 13 Aug. 2019, pp. 129–151, https://doi.org/10.1080/0950236x.2019.1651762. 

 

Hannan, Michael. “Writing the inner voice: Kazuo Ishiguro, Irony, and Dialogic Inner speech.” Auditory Perception & Cognition, vol. 9, no. 1, 2 Jan. 2026, pp. 34–42, https://doi.org/10.1080/25742442.2026.2631351.  

 

Ishiguro, Kazuo. An Artist of the Floating World. Faber and Faber, 2021. 

 

Ishiguro, Kazuo, and Kenzaburo Oe. “Wave Patterns: A Dialogue.” Grand Street, no. 38, 1991, pp. 75–91. JSTOR, https://doi.org/10.2307/25007458. Accessed 14 Mar. 2026. 

 

Noshin Jamali, Mohammad Motiee, Seyed Reza Ebrahimi. “Cultural Identity Formation in Kazuo Ishiguro’s Anan Artist of the Floating World in the Realm of Jan Assmann Theory”. The International Journal of Multiphysics, vol. 18, no. 4, Nov. 2024, pp. 83 -94, https://themultiphysicsjournal.com/index.php/ijm/article/view/1548. 

 

Okuhata, Yutaka. “The Empire’s double bind: Kazuo Ishiguro and the Imperial Rescript on Education.” Textual Practice, vol. 37, no. 6, 8 June 2022, pp. 997–1014, https://doi.org/10.1080/0950236x.2022.2086289. 

 

Shaffer, Brian W., and Kazuo Ishiguro. “An Interview with Kazuo Ishiguro.” Contemporary Literature, vol. 42, no. 1, 2001, pp. 1–14. JSTOR, https://doi.org/10.2307/1209082. Accessed 14 Mar. 2026. 

 

Sloane, Peter. “Literatures of resistance under U.S. ‘Cultural siege’: Kazuo Ishiguro’s narratives of Occupation.” Critique: Studies in Contemporary Fiction, vol. 59, no. 2, 27 Nov. 2017, pp. 154–167, https://doi.org/10.1080/00111619.2017.1375456. 

 

Swift, Graham, and Kazuo Ishiguro. “Kazuo Ishiguro.” BOMB, no. 29, 1989, pp. 22–23. JSTOR, http://www.jstor.org/stable/40423890. Accessed 14 Mar. 2026.