A Comparative Analysis of Art as Propaganda in the Works of Masuji Ono & Diego Rivera.

A Comparative Analysis of Art as Propaganda in the Works of Masuji Ono & Diego Rivera

1. A Comparative Analysis of Art as Propaganda in the Works of Masuji Ono & Diego Rivera Presented by Jatin Varu

2. PERSONAL INFORMATION Presented By :- Jatin varu Roll No :- 11 Enrollment Number :- 5108230049 Semester :- 2 Paper No :- 107 Paper Name & Code :- The Twentieth Century Literature: From W.W. II to the End of the Century Presentation Topic :- A Comparative Analysis of Art as Propaganda in the Works of Masuji Ono & DiegoRivera Submitted To :- Smt. S.B. Gardi, Department of English (MKBU) Email ID :- [email protected]

3. Table of contents 01 A Brief Overview of novel 02 Masuji Ono & his Art 03 About Author 04 05 06 Similarities in both Artist Diego Rivera & his Art Role of Godi Media 07 Conclusion

4. Brief Overview of Novel 1 Title: "An Artist of the Floating World" Author: Kazuo Ishiguro Genre: Fiction, Historical Fiction Setting: Post-World War II Japan, specifically Tokyo Protagonist: Masuji Ono, an aging artist who once embraced the nationalist ideals of pre-war Japan Plot: Follows Ono's reflections on his past actions and choices as an artist during the war, grappling with his role in promoting militaristic propaganda Themes: Memory, guilt, the passage of time, the consequences of personal and political choices, the clash between tradition and modernity Style: Ishiguro's trademark blend of introspective narrative and subtle, understated prose Awards: Shortlisted for the Booker Prize in 1986 Significance: Offers a nuanced exploration of individual responsibility and the complexities of cultural identity in the aftermath of war-era Japan. ( Ishiguro )

5. About Author 2 Name: Kazuo Ishiguro Birth: Born on November 8, 1954, in Nagasaki, Japan Nationality: British, naturalized in 1982 Education: Studied English and Philosophy at the University of Kent, then Creative Writing at the University of East Anglia Literary Style: Known for his subtle, introspective prose, often exploring themes of memory, identity, and the passage of time Major Works: "An Artist of the Floating World" (1986) - set in post-WWII Japan, it explores guilt and responsibility through the eyes of an aging artist "The Remains of the Day" (1989) - won the Booker Prize and adapted into a successful film "Never Let Me Go" (2005) - dystopian novel exploring themes of love, mortality, and ethics Awards: Recipient of numerous awards, including the Nobel Prize in Literature in 2017 ( Britannica )

6. Masuji Ono as a Propagandist 3 Masuji Ono is a fictional character from Kazuo Ishiguro's novel "An Artist of the Floating World." He is an aging painter living in post-war Japan. Ono reflects on his past and his role in promoting Japanese nationalism through his art. He grapples with guilt and regret over his involvement in supporting the militaristic regime. Ono's paintings often depict traditional Japanese scenes and themes, reflecting a romanticized view of Japan's past. His art was used as propaganda to promote nationalistic sentiments during World War II. Ono's journey involves introspection and reconciliation as he comes to terms with his past actions. The novel explores themes of memory, identity, and the impact of societal change on individual lives. ( Ishiguro )

7. Masuji Ono, the first-person narrator in Kazuo Ishiguro's novel An Artist of the Floating World, is depicted as a propagandist artist during the imperialist era in Japan. Ono remembers his "glorious days as a painter and political propagandist for the imperialist Japan." There is a discrepancy between how Ono portrays himself as a significant, prestigious artist to his narratee (fictional listener), and the reality presented to the reader that he was actually just "a minor informer nobody remembers in the narrative present." Ono transitions from painting art for art's sake to propagandistic art, as seen when he shows his painting "Complacency" to his colleague Tortoise, who calls Ono "a traitor" for this shift. One of Ono's former pupils, Shintaro, reminds Ono about their "little disagreement" over the "China crisis posters", implying Shintaro had "strong reservations about the direction" Ono's art school was taking towards propaganda. The article states that while Ono admits some mistakes, he does so to manipulate his narratee into believing he was once "a man of great importance" as an artist who made impactful political errors because of his stature. So in essence, the article portrays Masuji Ono as an artist who abandoned pure aestheticism to become a propagandist for Japanese imperialism, though he is unreliable in narrating this shift as he exaggerates his former prestige and importance as an artist. ( Mihaes )

8. Diego Rivera was a Mexican artist known for his large-scale murals. Diego Rivera was born on December 8, 1886, in Guanajuato, Mexico. He used his art to promote political and social messages, making him a propagandist artist. Rivera's murals often depicted scenes of Mexican history, culture, and society. He aimed to foster national pride and unity through his artwork. Rivera's murals were commissioned by the Mexican government to promote specific ideologies. His art advocated for the rights of the working class and indigenous peoples. Rivera's propaganda focused on leftist and Marxist ideals, rather than promoting authoritarian agendas. Despite being propagandistic, Rivera's art conveyed positive messages of social justice and equality. He passed away on November 25, 1957, in Mexico City. ( Britannica ) About Diego Rivera 4

9. Some authors like Pete Hamill and Patrick Marnham present Rivera's murals as lamentable propaganda for the communist movement, portraying Rivera as blindly following Marxist-Leninist dogma. The review criticizes this view as a recycled cold war stance that oversimplifies Rivera's politics. The book by Leonard Folgarait presents a revisionist view that Rivera's murals articulated the ideology of the post-revolutionary Mexican state and its patrons, serving as legitimacy for the ruling party. Folgarait argues the murals aimed to construct a desired social coherence and shape a controlled citizenry aligned with official policy. The monographs by Linda Downs and Anthony Lee focus more on the artistic processes, local contexts and shifting political meanings of specific mural projects by Rivera, rather than dismissing them purely as propaganda. So while some authors condemn Rivera's murals as propagandist, the review argues for a more nuanced understanding that recognizes both their ideological origins as well as the spaces for Rivera to diverge from and resist the official narratives through his muralist works ( Craven )

10. Promotion of Ideology :- Both Masuji Ono and Diego Rivera used their art to promote specific ideologies. Ono's paintings in Ishiguro's novel were used to support Japanese nationalism during World War II, while Rivera's murals conveyed messages of social justice and leftist ideals. Depiction of Cultural Identity :- Both artists depicted scenes and themes related to their cultural identity. Ono's paintings often portrayed traditional Japanese culture and landscapes, reflecting a nostalgic view of Japan's past. Similarly, Rivera's murals celebrated Mexican history, culture, and society, fostering national pride and unity. Public Accessibility :- Both artists created artwork intended for public spaces, making their messages accessible to a wide audience. Ono's paintings were displayed in public exhibitions and venues, while Rivera's murals adorned walls of government buildings and public spaces. Use of Symbolism :- Both artists employed symbolism in their work to convey deeper meanings and messages. Ono's paintings often depicted traditional Japanese symbols and motifs, while Rivera's murals incorporated symbols of Mexican history, culture, and struggle. Overall, Masuji Ono and Diego Rivera share similarities as propagandist artists in their use of art to promote specific ideologies, celebrate cultural identity, and reflect the sociopolitical context of their respective times. Similarities in both Artist 5

11. Role of godi Media 6 The article Which written by Rameez Ahmad Bhat talks about how many English news anchors in India have ignored their duty as journalists by supporting the government's agenda, spreading false information and propaganda instead of questioning those in power. This "Godi media" is criticized for promoting a narrow view of nationalism, favoring the majority and weakening democratic values with biased reporting and no fair analysis. The article compares the characters in Ishiguro's novels to the actions of the Indian media, showing how both can deceive themselves and work in favor of the government's beliefs. It's worried about the impact on democracy and freedom of the press when influential parts of the media support the government instead of holding it accountable. ( Bhat )

12. Differences Between Ono & Rivera National Context:- Masuji Ono is a fictional character in Kazuo Ishiguro's novel "An Artist of the Floating World," set in post-war Japan. Ono's story is situated within the historical and cultural context of Japan during the aftermath of World War II. Diego Rivera, on the other hand, was a real-life Mexican artist who lived from 1886 to 1957. Rivera's works were deeply rooted in the sociopolitical landscape of Mexico during the early to mid-20th century, including the Mexican Revolution and its aftermath. Artistic Medium:- Masuji Ono is primarily a painter, specifically known for his traditional Japanese-style paintings in the novel. Diego Rivera was primarily a muralist, renowned for his large-scale fresco murals that adorned public buildings and spaces. Real vs. Fictional:- Masuji Ono is a fictional character created by Kazuo Ishiguro, representing a composite of individuals who supported nationalist agendas in Japan during the war. Diego Rivera was a real historical figure whose artworks and political activism had a significant impact on Mexican society and art history.

13. Conclusions The comparative analysis of art as propaganda in the works of Masuji Ono and Diego Rivera reveals intriguing parallels and contrasts between these two artists. Both Ono and Rivera utilized their art to convey powerful messages, reflecting and shaping the cultural and political landscapes of their respective societies. While Ono's paintings in "An Artist of the Floating World" depicted a nostalgic view of Japan's past and supported nationalist agendas, Rivera's murals celebrated Mexican history and advocated for social justice and leftist ideals. Despite the differences in their artistic styles and contexts, both artists demonstrated the potent influence of art as a tool for propaganda, highlighting its ability to promote specific ideologies and shape public perception. Through their works,

14. R eferences Bhat, Rameez Ahmad. “Kazuo Ishiguro and ‘godi’ Media: A Thematic Comparison of His Select Novels and the Post-2014 Indian Media.” SSRN , 8 Feb. 2024, papers.ssrn.com/sol3/papers.cfm?abstract_id=4680408. Accessed 06 Apr. 2024. Britannica, The Editors of Encyclopaedia. "Diego Rivera". Encyclopedia Britannica, 4 Apr. 2024, https://www.britannica.com/biography/Diego-Rivera. Accessed 6 April 2024. Britannica, The Editors of Encyclopaedia. "Kazuo Ishiguro". Encyclopedia Britannica, 6 Mar. 2024, https://www.britannica.com/biography/Kazuo-Ishiguro. Accessed 5 April 2024. Craven, David. “Recent Literature on Diego Rivera and Mexican Muralism: Latin American Research Review.” Cambridge Core , Cambridge University Press, 5 Oct. 2022, www.cambridge.org/core/journals/latin-american-research-review/article/recent-literature-on-diego-rivera-and-mexican-muralism/8C98AB853324E437A612CEEC8CF60C24. Accessed 06 Apr. 2024. Ishiguro, Kazuo. An Artist of the Floating World . Faber & Faber, 2009. Mihaes, Lorena. “(PDF) Politeness Strategies in Kazuo Ishiguro’s the Remains Of ...” Https://Www.Researchgate.Net/Publication/281592862_POLITENESS_STRATEGIES_IN_KAZUO_ISHIGURO’S_THE_REMAINS_OF_THE_DAY_AND_AN_ARTIST_OF_THE_FLOATING , Mar. 2013, www.researchgate.net/publication/281592862_POLITENESS_STRATEGIES_IN_KAZUO_ISHIGURO’S_THE_REMAINS_OF_THE_DAY_AND_AN_ARTIST_OF_THE_FLOATING. Accessed 06 Apr. 2024.