Sanshiro’s Representation of Urban Space Natsume Soseki’s Sanshiro took place in urban Japan, and used that setting to show the shortcomings and successes of Japanese urban spaces in the early Meiji-era. Sanshiro was a Japanese farm-boy from Kyushu, but began attending university in the city. He represents the Japanese who had to adjust to life in unfamiliar urban spaces and how living in those spaces could cause social change. I will use the sequence on pages 90-94 of Sanshiro, where Sanshiro travels with Nonomiya, Yoshiko, Mineko, and Hirota to see a Chrysanthemum Doll show at Dangozaka (‘dumpling hill’). This scene shows how Soseki represents urban space through the eyes of locals and Sanshiro when adjusting to, socializing in, and navigating …show more content…
This scene emphasizes the social roles in urban space that are different from Sanshiro’s experiences. Nobody steps up to help the child, although people do turn their heads to show sympathy. This is the contrast of what is convenient versus what upholds status. Yoshiko says “there are so many people here. I don’t have to be the one.” The men of the group laugh and say Yoshiko is avoiding responsibility without acting themselves. There is a disconnect between Sanshiro and Tokyo’s citizens: while Sanshiro finds it strange that nobody wants to be the one to help, his group are fine with it. Sanshiro comes from a lower social standing than people from the city and will not overstep his bounds in the city. Soseki may have been commenting that the pressure from having so many people in a space makes it difficult for one individual to step outside of their social boundaries. In other words, with so many observers, the high-class Tokyo University researcher and professor would never think of being the ones to help the child, whereas the farm-boy or women might. This is reinforced when “[a]t the top of Dangozaka, they found a swarm of people by the police box. The lost child was finally in the hands of the police” (Soseki, p.92/93). A group of people returned the child and only Mineko and Yoshiko gave any
In Chapter 4, In the Unlikely Event of a Water Landing, the author Lauren Slater starts the chapter off telling the true story of how a young woman, Kitty Genovese, was brutally murdered and raped outside of her apartment complex. What was most shocking in the aftermath is there were a total of 38 witnesses and not a single person did anything to help her. This raised many concerns as to why the witnesses did nothing. When they were being interviewed by the cops, they stated that they just did not want to get involved(p.94), thus “diffusing responsibility”, this is a term used by two psychologists John Darley and Bibb Latane, who were very concerned with and wanted to understand why nothing was done to aid young Kitty Genovese as she was being stabbed and raped.
Like walking through a barren street in a crumbling ghost town, isolation can feel melancholy and hopeless. Yet, all it takes is something like one flower bud to show life really can exist anywhere. This is similar to Stephen’s journey in The Samurai’s Garden. This novel is about an ailing Chinese boy named Stephen who goes moves to a Japanese village during a time of war between Japan and China to recover from his disease. By forming bonds with several locals and listening to their stories, he quickly matures into a young adult. Throughout the novel, Gail Tsukiyama shows how disease forces Stephen into isolation; however, his relationship with Sachi and his time spent in Matsu’s garden lead him out of solitude.
“The Singer Solution to World Poverty” by Peter Singer is a persuasive article trying to influence people to donate money to save children’s lives. Peter Singer stated, “Evolutionary psychologists tell us that human nature just isn’t sufficiently altruistic to make it plausible that many people will sacrifice so much for strangers… they would be wrong to draw moral conclusions to that fact”. First, Singer tells a story about a retired school teacher who doesn’t have extra money. Dora, the school teacher, is given a chance to make a thousand dollars by walking a homeless child to a house, in which she was given the address for. She then walks the child to the house, and then later Dora’s neighbors tell her that the child was probably killed
Beneath the surface of orderliness and sameness in both communities lies an extensive network of social discipline. In The Giver, citizens are distributed spatially according to their stage of life. For example, the newborn children live together at the Nurturing Center, children and adults live together in families, and the oldest adults live together in the House of the Old. Also, the power structures control activities for a purpose to encourage those that are useful towards the society and those that are considered counterproductive. Therefore, children’s lives are tightly regulated by their defined jobs and participation in the...
Throughout history artists have used art as a means to reflect the on goings of the society surrounding them. Many times, novels serve as primary sources in the future for students to reflect on past history. Students can successfully use novels as a source of understanding past events. Different sentiments and points of views within novels serve as the information one may use to reflect on these events. Natsume Soseki’s novel Kokoro successfully encapsulates much of what has been discussed in class, parallels with the events in Japan at the time the novel takes place, and serves as a social commentary to describe these events in Japan at the time of the Mejeii Restoration and beyond. Therefore, Kokoro successfully serves as a primary source students may use to enable them to understand institutions like conflicting views Whites by the Japanese, the role of women, and the population’s analysis of the Emperor.
From walkmans to CD players to iPods, technology has evolved over the succession of the years; humans have taken extensive steps towards a technological transformation that has revolutionized the manner in which several individuals communicate with one another. Likewise, various humans have opted for more modern methods to connect and contact their loved ones such as speaking on a cell phone, video chatting, e-mailing, instant messaging, and conversing through social media. With these contemporary methods of communication, global interaction has now been facilitated and easily accessible; conversing with individuals from across the world is as transparent and prompt as speaking with individuals within the same city. Nonetheless, these technological
“Until the seventeenth century, Japanese Literature was privileged property. …The diffusion of literacy …(and) the printed word… created for the first time in Japan the conditions necessary for that peculiarly modern phenomenon, celebrity” (Robert Lyons Danly, editor of The Narrow Road of the Interior written by Matsuo Basho; found in the Norton Anthology of World Literature, Second Edition, Volume D). Celebrity is a loose term at times; it connotes fortune, flattery, and fleeting fame. The term, in this modern era especially, possesses an aura of inevitable transience and glamorized superficiality. Ironically, Matsuo Basho, (while writing in a period of his own newfound celebrity as a poet) places an obvious emphasis on the transience of life within his travel journal The Narrow Road of the Interior. This journal is wholly the recounting of expedition and ethos spanning a fifteen hundred mile feat, expressed in the form of a poetic memoir. It has been said that Basho’s emphasis on the Transient is directly related to his and much of his culture’s worldview of Zen Buddhism, which is renowned for its acknowledgement of the Transient as a tool for a more accurate picture of life and a higher achievement of enlightenment. Of course, in the realization that Basho does not appear to be unwaveringly religious, perhaps this reflection is not only correlative to Zen Buddhism, but also to his perspective on his newfound celebrity. Either way, Matsuo Basho is a profound lyricist who eloquently seeks to objectify and relay the concept of transience even in his own name.
In the utopian city of Omelas, there is a small room underneath one of the buildings were a small unwanted child sits and is mistreated and slandered for existing. The child’s terrible existence allows the city to flourish and thrive with grace and beauty. Visitors come to view the miserable juvenile and say nothing, while others physically abuse the innocent child. The utopian society is aware of the child’s “abominable misery” (216), but simply do not care to acknowledge it. Le Guin states, “[T]o throw away the happiness of thousands for the chance of happiness of one: that would be to let guilt in the walls ... [T]here may not even be a kind word spoken to the child” (216). This means that since the child holds the responsibility of keeping the city beautiful, it has to go through the torture of neglect and separation from the outside
In 1964 Catherine ‘Kitty’ Genovese was murdered and raped outside of her New York apartment in the early morning hours of 3 a.m. Her case was one that shocked all of America to its very core. The killer and the witnesses to the crime show the start of disassociation within society in the three theories that are applied throughout the following pages: Rational Choice, Anomie and Routine Activity. The development of the bystander effect and the diffusion of responsibility and its significant harms to both society and its moral compass in
In Kiyoshi Kurosawa’s Tokyo Sonata, the four members of the Sasaki family are intimately followed after a tragic event affects the father early in the film. Due to the catastrophic nature of the event, the audience is quickly exposed to the individual secrets of the Sasaki family and how a family’s values could be perceived as decomposing in modern Japan. As the story progresses, each family member encounters or exposes their own obstacles in life, leading to a conclusion which, is ultimately left open to the viewer’s perception.
In the short story The Ones Who Walk Away from the Omelas, Ursula Le Guin illustrates a community that is joyous. However, the community is torn because the source of their happiness is due to the choosing of an unfortunate child that resides in a basement under of the beautiful public buildings of Omelas neglected and barely ever eating. Le Guin explanation that although the people of the community are very happy, they are also very well aware of what is providing them that happiness. He writes, “all know [the child] is there… They all know that it has to be there. Some of them understand why, and some do not, but they all understand that their happiness, the beauty of their city, the tenderness of their friendships, the health of their children, the wisdom of their scholars, the skill of their makers, even the abundance of their harvest and the kindly weathers of their skies, depend wholly on this child’s abominable misery” (257). This unjust and cruel punishment this child must endure for the sake of the community causes an ethical dilemma that tears apart the community. The ethical dilemma forces the community to acknowledge their living situation and ask themselves: What is more important? Their happiness or this child? Thus, they must make a choice to either walk away from the life and community they have lived in for their whole life because their source of happiness is at the cost of a young boys life. Or, do they continue to live in Omelas and ignore the harsh conditions that this young boy is exposed to. In the story the boy is described as a six-year-old boy that is neglected, locked away in a dirty room, abused mentally and physically, and alone(Le Guin, 257). He barely has any fat on him because all he is fed is “hal...
Most people just complain about the wickedness and the corruption of society, and they do not realize that they are contributing to the problem by doing nothing to stop it and just being mere bystanders. Bystanders are those individuals that do not take part in events despite being present during those times. In spite of the consequences that it entails being a bystander, this kind of behavior is usually driven by the desire to avoid problems. In order to avoid this misleading mentality, many philosophers and social activists have advocated against people being bystanders. An individual should not be a bystander because being a bystander is morally incorrect, inhuman, and harmful.
On December 3, in full view of a number of witnesses standing within close proximity, Ki-Suck Han, a 58 year-old male entered into an altercation with Naeem Davis, a 30 year-old homeless male at the Times Square subway station. Han was pushed down into the tracks and then struggled and pleaded for help for what was reported to be a full 22 seconds, as witnesses watched, took pictures, and failed to come to his assistance (Petrecca & Eversley, 2012). The man was then hit by the approaching subway train as it dragged into the station. This is a sad example of the Bystander Effect which demonstrates that people are less likely to come to the assistance of another in an emergency situation when other bystanders are present and also perceived to be responsible and able to help (Schneider, Gruman, and Coutts, 2012). Moreover, we are most of the time influenced by Social Loafing. Social loafing is the diffusion of responsibility among a group of people. When a group of people are perceiving an emergency situation, all of them tend to think that others are available to help. Social influence explains that people always look to others to evaluate a situation as a real emergency. We assume that others may know something that we do not know and we measure their reactions before we decide how we will respond. If we noticed that those around us are acting as if it is an emergency, then we will view the situation in the same way and act accordingly. However, if those around us are acting calm, then we may not realize the immediacy of the situation and therefore fail to respond appropriately. Maybe this is the answer to why people did not help the homeless who was attacked by the 58 year- old man. They failed to see the situation as a real emergency, and as a result they did not act
It leaves an impression of how beautiful and enjoyable it would be to live there. Everyone in Omelas seems to be living pure happiness all around. As the story is being told, there’s a sudden change from describing an enjoyable summer to a description of a dark place at the bottom of a public building in Omelas. Le Guin describes, “The room is about three paces long and two wide: a mere broom closet or disused tool room. In the room, a child sitting. It could be a boy or a girl” (Le Guin). The child who is also considered as in “it”, is being held as a prisoner and left there to suffer. Meanwhile, everyone else few feet above are enjoying the presence of others and the Festival of Summer. The citizens seemed to be aware of the situation of the existence of the child, but people prefer to stay quiet. Perhaps they started to believe that the suffering of one child is the definition of a perfect society and later came to realize that it’s for the best if nobody talked about it or mention anything. As the story goes more in depth on how the child is living in a basement and the reaction of many people, we can conclude that is an act of utilitarianism which is a form of consequentialism ethics as well. As stated in the book Theory and Practice, “In other words, if a given choice leads to bad results, then the choice is morally wrong. If it leads to good
I am black, I am a woman, growing up I was called “white girl.” As a black woman from sin city (Las Vegas, NV) the term urban did not describe my reality. Perception can be the only reality that you see in examining the lens of what is “urban”. What is urban? When the word urban comes to mind does it elicit emotions of privilege, pride or fear? Hunter; & Leonardo (2007) look at the term “urban” (particularly in the ghetto) they define it as both a “real” and “imaginary place” and divides the urban perspective into three distinctive categories of “space”: Urban is sophisticated, Urban is authentic, and Urban is a Jungle. Furthermore, from the text the author(s) argue, “daily constructions