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Misdelivery, Singular/Plural transcendentness, Postal space, Animalization, Database consumption, moe-elements, Gamelike realism, Disciplinary power/Environment-controlling power, Human/Animal publicness, General will 2.0, Weak ties, Villagers/Travelers/Tourists, Postal Multitude
Hiroki Azuma (東 浩紀, Azuma Hiroki) (born May 9, 1971) is a Japanese cultural critic, novelist, and philosopher. He is the co-founder and former director of Genron,[1] an independent institute in Tokyo, Japan.[2]
Azuma is married to the writer and poet Hoshio Sanae, and they have one child together. His father-in-law is the translator, novelist, and occasional critic Kotaka Nobumitsu.
Work
Hiroki Azuma is one of the most influential young literary critics in Japan, focusing on literature and on the idea of individual liberty.[3]
Azuma launched his career as a literary critic in 1993 with a postmodern style influenced by leading Japanese critics Kojin Karatani and Akira Asada. In the late 1990s, Azuma began examining various pop phenomena, especially the emerging otaku/[4]Internet/video game culture, and became widely known as an advocate of the thoughts of a new generation of Japanese. He is interested in the transformation of the Japanese literary imagination under its current “otaku-ization.”
Azuma has published seven books,[5] including Sonzaironteki, Yubinteki (Ontological, Postal)[6] in 1998, which focuses on Jacques Derrida's oscillation between literature and philosophy. This work won the Suntory Literary Prize in 2000[5] and made Azuma the youngest writer to ever win that prize. Akira Asada stated that it is one of the best books written in the 90s; however, Hiroo Yamagata pointed out that the book is based on the misunderstanding of Gödel's incompleteness theorem. He also wrote Dobutsuka-suru Postmodern (2001, lit, Animalizing Postmodernity; translated as Otaku: Japan's Database Animals in 2009), which analyzes Japanese pop culture through a postmodern lens and uses the term "database consumption" to describe a new paradigm of media consumption that consumes elements of a narrative rather than a narrative itself.[7] He has also set up a non-profit organization to encourage cutting-edge critics who might be shut out of the existing publishing world.
Works
Hiroki Azuma. 存在論的、郵便的－ジャック・デリダについて
Hiroki Azuma. 郵便的不安達
Hiroki Azuma. 不過視なものの世界
Hiroki Azuma. 動物化するポストモダン―オタクから見た日本社会
Hiroki Azuma. ゲーム的リアリズムの誕生―動物化するポストモダン2
Hiroki Azuma. 文学環境論集―東浩紀コレクションL
Hiroki Azuma. 情報環境論集―東浩紀コレクションS
Hiroki Azuma. 批評の精神分析―東浩紀コレクションD
Hiroki Azuma. 郵便的不安たちβ
Hiroki Azuma. サイバースペースはなぜそう呼ばれるか
Hiroki Azuma. 一般意志2.0―ルソー、フロイト、グーグル
Hiroki Azuma. セカイからもっと近くに―現実から切り離された文学の諸問題
Hiroki Azuma. 弱いつながり―検索ワードを探す旅
Hiroki Azuma. ゲンロン0―観光客の哲学
Hiroki Azuma. ゆるく考える
Hiroki Azuma. テーマパーク化する地球
Hiroki Azuma. 哲学の誤配
Hiroki Azuma. 新対話篇
Hiroki Azuma. ゲンロン戦記――「知の観客」をつくる
Hiroki Azuma. 忘却にあらがう 平成から令和へ
Hiroki Azuma. (2007) "The Animalization of Otaku Culture" Mechademia2 175–188.
