Tatsumi, Takayuki

タツミ　タカユキ

Tatsumi, Takayuki

Faculty of Letters/Professor Emeritus

Basic Information

Biography

Researcher profile

巽　孝之（たつみ・たかゆき）Takayuki TATSUMI 　1955年 5月 15日、東京生まれ。　1978年、上智大学文学部英文学科卒業。1982年、慶應義塾大学法学部英語助手。　1987年 8月、コーネル大学大学院博士課程修了(博士号請求論文は“Disfiguration of Genres: A Reading in the Rhetoric of Edgar Allan Poe”[UMI請求番号8725822])。　1989年、慶應義塾大学文学部へ移籍し同英米文学専攻助教授、1998年同教授。現在、日本英文学会監事、日本アメリカ文学会会長、アメリカ学会理事、北米学術誌 The Jourrnal of Transnational American Studies編集委員。　代表的著書に『サイバーパンク・アメリカ』（勁草書房、1988年度日米友好基金アメリカ研究図書賞）、『ニュー・アメリカニズム』（青土社、1995年度福澤賞）、『メタファーはなぜ殺される——現在批評講義』（松柏社、2000年）、『アメリカン・ソドム』（研究社、2001年）、『リンカーンの世紀』（青土社、2002年）、『アメリカ文学史』（慶應義塾大学出版会、2003年）、『「白鯨」アメリカン・スタディーズ』（みすず書房、2005年）、『モダニズムの惑星』（岩波書店、2013年）、Full Metal Apache: Transactions between Cyberpunk Japan and Avant-Pop America（Durham: Duke UP, 2006, 2010 IAFA Distinguished Scholarship Award [国際幻想芸術学会賞・学術部門賞]）ほか。　代表的論文に“Literary History on the Road: Transatlantic Crossings and Transpacific Crossovers” (PMLA [January 2004])ほか多数。　編著に『反知性の帝国――アメリカ・文学・精神史』（南雲堂、2008年）、訳書にエドガー・アラン・ポー『黒猫・アッシャー家の崩壊』『モルグ街の殺人・黄金虫』（新潮社、2009年）、編訳書にダナ・ハラウェイ他『サイボーグ・フェミニズム』（トレヴィル、1991年/水声社、2001年、第２回日本翻訳大賞思想部門賞）、ラリイ・マキャフリイ『アヴァン・ポップ』（筑摩書房、1995年／北星堂、2007年）ほか多数。

General introduction

Deeply interested in American Renaissance writers in the mid-19th century and postmodern metafiction / deconstructionist criticism in the early 1980s, I completed my doctoral dissertation "Disfiguration of Genres: A Reading in Edgar Allan Poe" at Cornell University in 1987, with Jonathan Culler, Cynthia Chase and Debra Fried as the committee members. However, my Cornell years (1984-1987) coinciding with the rise of the Cyberpunk movement initiated me into the expanding universe of literary and cultural studies. Thus, imbibing post-deconstructionist theories such as New Historicism and post-colonialism in the 1990s I came up with my own comparative literary and cultural theory which made possible my major article "Literary History on the Road: Transatlantic Crossings and Transpacific Crossovers" (PMLA [January 2004]) and my first monograph in the United States Full Metal Apache: Transactions between Cyberpunk Japan and Avant-Pop America (Duke UP, 2006) with the foreword by the missionary of Avant-Pop Larry McCaffery, which helped the author receive the 2010 IAFA [International Association for the Fantastic in the Arts] Distinguished Scholarship Award. Now enter Stephan Hall, Assistant Professor of Communication and Media Studies at Defiance College, who gives a fantastic explanation of my own theory at the 31st annual meeting of ICFA (International Conference for the Fantastic in the Arts) held on March 17, 2010 in Orlando, Florida. He states: As he continued his research and refined his theory, the vector of Tatsumi's ideas moved from coincidence to synchronicity. This is not in the exact Jungian sense of the word, although it is related in the sense that meaningful associations may be manifested through conceptual frameworks. It is this construction of a new theory that led to the J.G. Ballard-esque condensed criticism that you find in Tatsumi's Full Metal Apache, a book I highly recommend. ... The awareness of the globalness of the world, and the mixing of people (of all manner of races) and their ideas is something that Tatsumi has long explored in his work, the West casting its gaze across the East in a sort of "orientalism" and a reciprocal move by the East to the West in a sort of "occidentalism." ... Tatsumi and I discussed the change from 1980s cyberpunk, and its transformation of place and space, to the mode of late capitalism we are in and slipstream fiction and its transformation of time, and of consensus, and how global technologies have modified synchronicity into a simultaneity of everything. You might detect a bit of pattern recognition between Tatsumi's ideas about the planetary and Spivak's ideas about "planetarity," a sensitive and attuned way of understanding the materiality of the world and our collective place and responsibility as humans within it (Death of a Discipline [2003]).