Home » Literary Review | An opportunity to dissect the “fan circle culture”, I missed it after all_Idol_Mingli_Life

Literary Review | An opportunity to dissect the “fan circle culture”, I missed it after all_Idol_Mingli_Life

by admin
Literary Review | An opportunity to dissect the “fan circle culture”, I missed it after all_Idol_Mingli_Life

Original title: Literary and Art Review | An opportunity to dissect “fan circle culture” was missed after all

The title of “Idol Disqualification” is naturally reminiscent of Dazai Osamu. His depression was so famous that it became an aesthetic style; his depression was so utterly disqualifying as a human being. In contrast, the current Japanese society is still continuing this kind of social depression, even rising to “social disqualification”. The 21-year-old Usami Suzu won the 164th Akutagawa Award for a story of a girl chasing stars and an idol falling, and ranked first in the sales list of Japanese literary novels that year. This actually shows the changes in the ecological context of literature, the significant intergenerational changes in readers, and the resonance of a large number of Japanese young people with low desire and loss.

The writer born in 1998 is “contemporary” with the novel character Mingli. From the individual psychology of female students, she can see signs of spiritual crisis, project social emotions, and have spiritual resonance. No matter Natsume Soseki’s “I Am a Cat” or Dazai’s “Girls’ Apprentice”, there is this effect. From a certain perspective, “Idol Disqualification” belongs to the context of “Youth Pain”. However, it is not a story that a rational reader can normally understand. Because the novel has an abnormal narrator: a melancholy closed, repressed and painful, star-chasing girl who indulges in falsehood. How to provide this narrative perspective of insanity and delirium is a test.

Hollow Man, Dangerous Self-Hypnosis

“Supporting idols is my clumsy self-rescue.” This line illustrates the motivation of characters and stories. When the idol broke the negative news of beating people, the protagonist Mingli felt that the sky was falling, as if he was suffocating. She couldn’t tolerate the fall of her idol, so she decided to support her and unite with other fans to maintain her idol. Star chasing originated from the painful experience of Akari when he was 4 years old. In the stage play that day, Peter Pan, played by Mako Ueno, was like falling from the sky, which relieved Akari from the pain. This spiritual experience of savior possession becomes a reflection of self-protection, a persistent complex.

After that, she recorded Ma Xing’s speech, wrote a diary of her thoughts, collected his photos, variety shows, and commercials, and watched it repeatedly. Even, she captures the idol’s language, habits and movements, trying to decipher him. This frenzy made her unwilling to study, and her grades were so poor that she dropped out. Idols have become the basis, center and premise of life, obliterating all value judgments. Mingli defended the idol’s scandal, was frustrated with the idol’s loss of followers, and was angry at the bad reviews the idol received, but he became a meaningless existence and worked hard in a fast food restaurant just to buy the idol’s voting rights.

See also  The Colombian actress who will be in MasterChef Spain

The core of self-moving is self-hypnosis, occupying emptiness with paralysis. Because of the fear of a two-way relationship, one-sided attention is the most reassuring. Just as a crush never fails, because without rejection, it never breaks. “No matter what I do, it won’t destroy the relationship…I left everything behind while supporting idols, and even though it was a one-sided emotional output, I felt filled like never before.” I want something in return, but there are always people who say it’s pathetic, I’m really fed up.”

However, this one-sided relationship contains dangerous logic. It loses the social attributes of dialogue and interaction with people and emotional feedback, and it goes to the psychological madness that is close to sacrifice. This is a “female fan monologue” in the style of “Diary of a Madman”. Even if you are morbid and crazy, you will be sure of your own logic and think everything is reasonable.

Just as it’s hard for a drunk person to realize that getting drunk is hard, so the writer can’t wake up the person on the show. Therefore, the novel presents a narrative attitude of non-comment and non-intervention. Usami Suzu seemed to have found a diary, but just opened it and read it with us. She presents the ultimate form of morbid star chasing—worshiping through god-making, offerings, and a clumsy sense of ritual. The display stand of the idol CD is called “altar”, and it has an exclusive color of support. “It’s like a cross in a church or a Buddha statue in a temple. I decorated the top of the display stand with a large autographed photo of the idol.”

The greater significance of the story is to write a kind of “hollow man”, which is as important as the outsider and the few people in the classic literature. To live in a hollow means to become a container for other people’s stuffing – a spiritually naked person. Mingli refused to enrich his heart and enrich his life. Instead, he chose to eliminate himself. “It was like nailing himself to the spine through some kind of difficult practice. The superfluous things were eliminated, and I became the naked spine itself.” It was the “spiritual poisoning” of Gan being brainwashed, voluntarily serving as a slave, and practicing self-abuse that alerted people.

Second-hand life, the erasure of self-consciousness

In Mingli’s world, idols have been internalized from objectified objects to part of their own subjects. This is the erasure of the subject-object boundary, the consciousness of self and others. Just as she repeatedly suggested to herself: “I want to see the world in the eyes of idols”. This kind of star chasing is rare, and she intends to occupy the living position and perspective of others, superimposing, projecting and coherent with the idol. “The idol’s singing in my ears was like humming from my mouth. My voice overlapped with the idol’s voice, and my eyes overlapped with the idol’s eyes.”

See also  Real-life Environmental Cases Unveiled in Hit Drama "Above the River" Heard by Jiangsu Courts

The more autistic life is, the stronger this projection becomes. Mingli’s sadness lies in living in a woven “virtual world“. She can only “project” herself on idols to achieve a kind of sustenance survival. The crisis lies in the lack of endogenous—that is, I want, I am, and I become. Without self-desire and free will, one can only rely on imitation and live unconsciously. “My life plan depends on the idol’s itinerary”, all actions and logic are determined by the idol’s life first. She can only live a “second-hand life”, blindly mechanical, and she must.

The state of the protagonist’s broken mind, large monologues and madness, and the narrative technique adopted by the writer – the free association of stream of consciousness, are precisely combined. “I can’t listen to the class. I stared blankly at the handwritten fonts that are often used in the handouts of Chiye, thinking wildly, if this is the character written by an idol… If I cut out those characters and put them together, maybe We can launch a Ueno Makoto typeface.” “There was so much noise around that I thought it was cicadas that flew into my ears, hatched a large number of young eggs in my heavy head, and squeaked like feathers. I clearly wrote a memo, and I shouted in my mind. But even if I wrote What’s the point of forgetting to look and bring it.” “I deliberately pushed my body to its limit, so my heart jumped, and I began to realize that I was pursuing difficult feelings…I would feel purified because of it. All the things in exchange can be poured into it, which can make me feel the value of my own existence.” It can be seen that the description of the novel often bridges from the body sensation to the conscious feedback, and the root of the pain is that the body and consciousness are always out of touch and rebellion. The original unity of consciousness and perception was intentionally destroyed.

A straightforward narrative by a writer of broken thoughts

Perhaps the problem with the novel is that the writer writes about the pathetic girl with almost sympathy, but objectively makes the reader feel hateful.

From the reading experience, “Idol Disqualification” has a look and feel of a graphic novel, and many paragraphs are like a girl’s diary with a grid of comics. Usami Ling is more like a “broken thoughts writer”, writing with extremely private and secret emotions, touching on growing symptoms. However, the superficial life in the story, the description of feelings, is difficult to understand. The first-person narrative makes the writer and Mingli’s cognitions have the impression of convergence and overlap, and even makes people addicted to it, lacking another dimension of observation. If we take works like Akutagawa Ryunosuke’s “Hell Change” as a reference, no matter the strength, depth and intensity, it is difficult for this quasi-00 post-00s writer to match. Where is the gap? I think it may be seven words: fine, light, straightforward, and flat.

See also  Liu Jun: Actors want to truly shape their roles

The story of “Idol Disqualification” originally contained a phenomenon-level topic-“fan circle culture” and idol star chasing, but it is likely to be narrowed and solidified by the topic. It is good for a novel to have a topic, but how to extend it from text to society is also related to a kind of “literary sociology”. It is a pity that the writer missed this opportunity for deepening, and it may be beyond his ability. She does not explore the social psychology, group consciousness, and spiritual crisis of behavior. In other words, she lacks a hermeneutics of self, and lacks the two directions of “knowing yourself” and “caring about yourself”. Between her and Mingli, there is more empathy and empathy; but in terms of interpretation, it seems powerless.

She did not dissect the psychological mechanism of supporting girls, that is, the “inevitability of action”. In my opinion, Mingli’s father is absent, and he has no sense of security in growing up, so he must seek refuge and sustenance; if his academic performance is not good, he must find alternative compensation and seek approval from fans; without communication in real life, he must maintain virtual emotions in fantasy coupling. Star chasing has become a form of mental anesthesia and symbolic relief. This is no different from the Internet addiction teenagers indulging in role-playing in games. Writers can rise to the writing of social novels, but in the end they stay at the level of private novels. The rhythm of “Idol Disqualification” is a daily life that is unlovable, flat and straightforward, as if in an inert gas, unable to breathe. The novel’s award-winning and first-selling novel does not explain how talented this new generation of writers is. On the contrary, it shows that some symptoms of Japanese society, such as general loss, high pressure and low desire, and decadence, have continued since the war, and the work has undoubtedly touched these emotions.

Author: Yu Gengyun

Editor: Guo Chaohao

*Wenhui’s exclusive manuscript, please indicate the source when reprinting.Return to Sohu, see more

Editor:

Statement: The opinions of this article only represent the author himself, Sohu is an information publishing platform, and Sohu only provides information storage space services.

You may also like

Leave a Comment

This site uses Akismet to reduce spam. Learn how your comment data is processed.

This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Accept Read More

Privacy & Cookies Policy