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The militia was completely voluntary with an emphasis on outdoor activities similar to the Boy Scouts , except that they also engaged in rigorous physical training, such as kendo and long-distance running.

He wanted to restore the divine status of the emperor. Mishima was a reactionary: he idealized the mythical past, celebrating a backward-looking utopia.

After being defeated by the Allied forces in World War II, Japan experienced an acute identity crisis. For Mishima, the outcome of losing the war, combined with the increasing westernization of Japan, meant a distinct loss of Japanese identity.

When the goddess conferred divine status on the emperor, she also blessed Japan and made the land sacred. In an effort to establish a sense of identity, some artists turned to a mythic prelapsarian past, a traditionalist idyll of feudal Japan.

Mishima himself felt powerless and retreated to his books and scholarship, increasingly engaged with the nihilistic Nihon Roman-ha Japanese romanticism that had been highly influential in his teenage years.

However, after the renewal of the security treaty between Japan and the United States of America AMPO in , his work became increasingly political.

Mishima felt sure that the classical, perhaps mythical, romantic Japan had been ruined by the excesses of Western postwar economic prosperity.

Mishima publicly disparaged the fact that Emperor Hirohito abdicated his position as a divine being.

His glorification of the military was not based on his own personal experience of life during wartime, but instead on ideas garnered from the samurai ethos.

Mishima was sixteen at the start of the war. He managed to avoid active military service when a doctor misdiagnosed his fever and cold as incipient tuberculosis after Mishima lied about his symptoms.

In Confessions of a Mask, he berates himself for lying to the army doctor: Why had I looked so frank as I lied to the army doctor? That my shoulder was painfully stiff?

That I spit blood. And even last night I had been soaked by a night sweat. Why had I run so when I was through the barracks gate? It is unlikely that if he had served in the military, he could have glorified it to the extent that he did.

On the morning of the coup, November 25, , Mishima delivered letters to three members of his Tatenokai Society.

Mishima was even more precise about how they were to act at their trial. The Jietai were instructed to summon the forty members of the Tatenokai for the speech, who were waiting nearby at Ichigaya hall ironically, his men refused to come because they failed to understand that the order came from Mishima.

Mishima stipulated that there were to be no interruptions to his balcony speech and the audience was to be silent.

Afterward, Mishima ordered a ninety-minute truce between the Tatenokai and the Jietai. If the truce was observed, Mishima would free General Mashita; if not, the general would die and Mishima would kill himself.

Mishima stood on the parapet of the Ichigaya garrison balcony addressing the soldiers below, pleading with them to rebel against the constitutional curtailment of the military.

Video footage taken from a helicopter shows Mishima with arms akimbo, commanding and resolute. Right now we will show you that there is a value higher than reverence for life.

It is neither freedom nor democracy. It is Japan. Japan, the country whose history and traditions we love. If there is, let us rise together even now, and let us die together.

They shouted, jeered, and heckled him throughout his speech. Morita then plunged the dagger into his stomach, ordering Furu-koga to decapitate him too.

They cried and murmured the Buddhist prayer for the dead: Namu Amida Butsu. The wisdom of the old is eternally murky, the actions of the young eternally transparent.

The longer people live, the worse they become. Human life, in other words, is an upside down process of decline and fall. However, he explains that the main reason he was drawn to the genius of Radiguet was simply that he was jealous that Radiguet died at the tender age of twenty, leaving the world a magnum opus.

Somehow he became my personal rival and his literary achievement a landmark to be reached before I died. Commenting on the anxiety of influence, the author positions himself against Radiguet in the contest to be the most remembered enfant terrible, with a youthful, ennobling death.

Published when he was just twenty-six, Confessions is the coming-of-age story of a young man who discovers he is gay and hides behind various masks of identity that he creates to survive in the world.

Mishima was a sickly child, subject to fits of melancholy and illness. Natsu took Kimitake away from his mother and moved him into her sickroom when he was barely two months old.

Natsu was determined that Kimitake would achieve tremendous success and bring glory to her family name.

Natsu also insisted that Kimitake act as her nurse, dispense her medicine, and even accompany her to the toilet when her neuralgia was complicated by stomach ulcers and a kidney disease.

His grandmother was brilliant, selfish, cultured, and unstable. He felt tiny and weak throughout his entire adult life until he took up bodybuilding in at age twenty-seven.

All I can feel is the padding. At that moment, Miwa realized how sensitive he was about his fragile body and that these feelings were his greatest weakness.

Shortly after that encounter in the nightclub, Mishima began his bodybuilding. A death by hara-kiri lacks honor if the body is old and ugly; then the sight of it seems indecent.

His preparation for death began with the preparation of his body. His hypermasculine body was one of a number of masks Mishima cultivated throughout his life.

But long before Mishima began bodybuilding, he was developing various masks of gender identity. His mother turned pale and looked away from him, and he had the sudden revelation of how grotesque he seemed to them.

Upon further reflection, Mishima discerned that it was this moment of rejection that led to his own incapacity to love in later life.

Further, gender is instituted through the stylization of the body and, hence, must be understood as the mundane way in which bodily gestures, movements, and enactments of various kinds constitute the illusion of an abiding gendered self.

Mishima is innocently attempting to performatively embody Tenkatsu. He is trying to get into the act. As Butler writes: The act that one does, the act that one performs, is, in a sense, an act that has been going on before one arrived on the scene.

Hence, gender is an act which has been rehearsed, much as a script survives the particular actors who make use of it, but which requires individual actors in order to be actualized and reproduced as reality once again.

Masculinity and Violence Rather than continue his flirtation with transvestism, Mishima began a different reluctant masquerade of acting like a boy.

Who could have explained for me why I was so delighted with fancies in which those body-revealing tights worn by the princes were associated with their cruel deaths?

There was an unspeakable delight in having been shot and being on the point of death. Thereafter, Mishima regularly attended the theater, seeing both Noh and Kabuki plays.

In Confessions, Mishima tells the story of his first erotic experience that distinctly conflates sex and death. The beautiful Saint Sebastian looks heavenward, his hands are bound above him by ropes, and he is tied to a tree.

Mishima describes Saint Sebastian: His white and matchless nudity gleams against a background of dusk. His muscular arms, the arms of a praetorian guard accustomed to bending of bow and wielding of sword, are raised at a graceful angle.

Were it not for the arrows with their shafts deeply sunk in his left armpit and right side, he would seem more a Roman athlete resting from fatigue, leaning against a dusky tree in a garden.

About to burst, my gargantuan member awaited its use with an arousal never felt before. Mishima was well aware of the meaning of this attraction, and he even comments on the connection between images of Saint Sebastian and queer identity.

As Jerry S. Over this period, he transformed himself from frail weakling to a muscular bodybuilder. Any confrontation between weak, flabby flesh and death seemed to me absurdly inappropriate.

I lacked, in short, the muscles suitable for a dramatic death. And it deeply offended my romantic pride that it should be this unsuitability that had permitted me to survive the war.

Haunted by this lie and feeling guilty about it for the rest of his life, Mishima took up bodybuilding as an attempt to atone for both the lie and his failure to serve in the army.

In a documentary on Mishima, Shinoyama observed the degree to which Mishima was capable of manipulating him, as photographer, into doing precisely what he wanted: It seems to me that I was well and truly used by Mishima.

Mishima was quite willing to be photographed naked, but he was rarely photographed full-figure. It was because the lower half of the body is more difficult to develop than the upper half.

Here Shinoyama describes Mishima as a master of ceremonies, the exhibitionist who knows precisely how he wants to be seen in the photograph. Mishima might be the object of the gaze, but he is also the subject, able to control exactly how he wants to be framed.

Shinoyama also discusses the important photograph of Mishima posed as Saint Sebastian, his muscles gleaming with oil and his white loincloth juxtaposed against a black tree.

He has attained the status of the powerful queer gaze that enthralled him in his first erotic experience.

Other portraits by Shinoyama are equally striking. Mishima becomes a split subject: he is both the object and subject of his own homoerotic and narcissistic queer gaze.

This photograph was on the cover of his book Sun and Steel, in which he articulates his vision of himself as a virile artist in action.

In these photographs, Mishima embodies a split queer gaze: he demonstrates that he has achieved his own ideal as the hypermasculine bodybuilder and soldier by being the object of the image, and, at the same time, he demonstrates his subjectivity by framing what he finds aesthetically attractive.

Mishima was one of the earliest writers to embrace Sade as a liberatory figure. Sade never appears, but his absent actions drive the play. The more exalted the man the more refined his pleasures.

No matter how loathsome it may seem to an outsider, this sickness has roses under its surface. When it grew light the crowd retrieved her corpse.

No one knew who she was. The morning sun mercilessly pierced through the coating of powder and lay bare the withered old flesh. This detracted not in the least from her glory.

Her dead body, feathers plucked and wrinkled, thighs bared, was borne in triumph through the streets to the sea. That, as you know, marked the beginning of the French Revolution.

He came to embody this martyrdom as a romantic revolutionary who sacrificed himself for the ideals of a mythic Japan. While critics like Hal Foster have connected fascism and sadomasochism, Mishima was not exactly a fascist.

For the guns, too, they are shooting the real human flesh to their satisfaction for the first time in a long while.

For instance, if you commit hara-kiri, the samurai was requested to make up his face by powder or lipsticks in order to keep his face beautiful.

While it is a tempting for me, as a Westerner, to link his made-up face in death with his childhood desire to perform femininity and become Takenatsu or Cleopatra, this connection is perhaps too easy.

It is, however, apparent that Mishima engaged in a particular performance of self, a deliberate masquerade of masculinity that he carefully crafted and constructed through his autobiographical writings, his samurai ethos, and his bodybuilding.

The Japanese army had split into two factions, the more traditional Kodo-ha Imperial Way Faction and the Tosei-ha the Control Faction.

Their fathers were so poor that they had to sell their sisters into prostitution in order to pay the back rent on their farms.

They thought they had killed the prime minister, but he hid in a closet while they accidentally assassinated his brother-in-law.

The goals of the Kodo-ha were identical to those stated by their commanding generals, so when they initiated a coup, they believed that the more senior officers would join them.

Instead, their army superiors abandoned them. Since he is newly married and very much in love, his colleagues have not involved Takeyama in the dangerous coup.

Rather than betray his friends, Lieutenant Takeyama and his wife Reiko commit hara-kiri in solidarity with the rebels. After the suicide, people would take out this photograph and examine it, and sadly reflect that too often there was a curse on these seemingly flawless unions.

Perhaps it was no more than imagination, but looking at the picture after the tragedy it almost seemed as if the two young people before the gold-lacquered screen were gazing, each with equal clarity, at the deaths which lay before them.

The story celebrates their decision to commit suicide. This idea of perfection captured by a photograph likely also motivated the numerous photographs Mishima posed for that served to document his virile masculinity.

The light from the low lamp clearly revealed the majestic sweep of her white flesh. The lieutenant, not without a touch of egocentricity, rejoiced that he would never see this beauty crumble in death.

Lieutenant Takeyama celebrates the fact that Reiko will leave behind a beautiful corpse, not worn by death, age, or sickness. The black-and-white film shows the couple making love and reaching new erotic heights, their lovemaking intensified by the knowledge of their imminent death.

In chapter 4 of the film, the viewer watches as Mishima, as leading actor, playing Lieutenant Takeyama, simulates hara-kiri.

Representation and reality begin to blur here. This portrayal is distinctly eerie, as Mishima rehearses his own suicide on film while simultaneously preserving it as a performance of Eros and Thanatos for the world to see.

In his full dress uniform, Takeyama regards Reiko from underneath his military cap, as she bows reverently to him. He picks up his sword, the Seki no Magoruku the exact same sword Mishima would use to commit actual suicide four years later , carefully cleaning it with rice paper and then unfastening the large brass buttons on his military coat, unbuckling his belt, and pulling down his trousers to expose his gut.

He rubs his upper left gut before penetrating the soft flesh with his sword, slowly pulling it along his torso with his trembling hand while blood gushes onto his loincloth and the floor beneath him.

It is as though this reactionary vanguard image of Mishima were a clairvoyant phantasm visiting from the future. Performed for the Japanese Dance Association on May 24, , the darkened stage revealed a young Yoshito Ohno son of Kazuo Ohno dancing barefoot with Hijikata Tatsumi.

The man and boy dance erotically; they are sexually attracted to one another. The man leaves the stage and returns, holding a chicken and running in a circle: The boy stiffens and walked to a narrow illuminated area centre stage, where the man is waiting in the darkness.

Then, placing the chicken between his thighs he slowly sinks to a squat. The audience can hear sounds of moaning. The explicit homosexual pedophilia in the piece, combined with the violence toward the chicken, shocked audience members.

It made those of us who watched it to the end shudder, but once the shudder passed through our bodies, it resulted in a refreshing sense of release.

Perhaps there was darkness concealed within our bodies similar to that found in Forbidden Colors and which therefore responded with a feeling of liberation.

It was a violent spasm of anti-dance. Of course, Hijikata was aware of the importance of the chicken. Boyhood hunger is vivid; the chicken my father killed was red.

To the hungry boy, the father even looked like a chicken as we were pounding the carcass. Hijikata came from the opposite socioeconomic background from Mishima.

Raised in the economically depressed area of Akita in rural northern Japan, Hijikata knew real poverty as a boy; his memories of hunger were strong.

Here he remembers killing a chicken and not wanting to eat it for fear his hunger would soon return , as well as a sense that everything, including his father, began to look like some kind of food when he was extremely hungry.

The progression from strangling the chicken, to cooking it, to presenting it on the dinner table was apparent even to a child. Although the boy in Forbidden Colors directed the release of his dark passion, which burst forth from the inner depths of his flesh, towards the chicken, this passion might be regarded as a form of love, as part of the natural cycle that occurred occasionally in everyday farming life.

Love always comes late. I slept with the chicken the night before my performance with other new dancers. This chicken which laid an egg in the green room played a vital part in my initiation into love.

I sometimes visited this partner of mine at a poultry shop in Asagaya. Over and over I apologized to the chicken I held while dancing.

Hunger must have been the theme of the universe. He is also commemorating the chicken as the third performer in Kinjiki. Did he sleep with the chicken the night before his performance like he did when he was a boy?

Did the chicken in Kinjiki lay an egg on the green-room floor? Did Hijikata apologize to the chicken, the sacrifice for his dance of darkness, over and over again before giving it to Ohno to squeeze between his thighs?

Hijikata enters the audience space carried on a wooden litter by several men; he is wearing a white bridal kimono backwards.

He is followed by a pig in a crib and a rabbit on a platter held at the end of a pole. He wears only an erect golden phallus.

A dead chicken hangs above him strung up by its feet. He proceeds to dance, leaping to large steel plates suspended from the ceiling.

When he jumps on the plates, the light from them is reflected into the audience. Finally, he kills a rooster by breaking its neck.

The piece culminates with him being flown across the audience on ropes as though in a mock Ascension. But both Mishima and Hijikata also looked back in Japanese history in an effort to uncover a mythic, authentic national identity and to reconstruct Japanese identity in the face of modernity.

It is also critical for beginning to understand the identity crisis central to postwar Japan. Indeed, for the core, the only sure mode of existence is to exist and to see at the same time.

There is only one method of solving this contradiction. Yet then the existence of the cut apple falls into fragments; the core of the apple sacrifices existence for the sake of seeing.

He believed his own sacrifice was necessary to remind the Japanese people of their national identity and purpose. In order to do this, he had to split the core open and expose it to the light.

But Mishima remains a paradox. Did you ever hear of a doll with downy hair? Mishima wrote the scene in which he has this cameo. He was both the keeper of strict warrior codes of Bushido and the lover of a famous drag queen; a critic of U.

It was the culmination of his lifelong vanguard aesthetic, his romantic nihilism born of Eros mixed with Thanatos. Albert Camus, The Myth of Sisyphus and Other Essays, trans.

Henry Scott Stokes, The Life and Death of Yukio Mishima New York: Noonday Press, , Hiroaki Sato New York: Columbia University Press, See also Stokes, Life and Death, Roy Starrs, Deadly Dialectics: Sex, Violence and Nihilism in the Work of Yukio Mishima Honolulu: University of Hawaii Press, , Die sportwetten de Gefahren, leichten Marufs, artikel frechdachs.

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Logo Quiz Lösung
Logo Quiz Lösung
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