Criticism
C. Douglas Lummis has written: "After some time I realized that I would never be able to live in a decent relationship with the people of that country unless I could drive this book, and its politely arrogant world view, out of my head."
Lummis, who went to the Vassar College archives to review Benedict’s notes, wrote that he found some of her more important points were developed from interviews with Robert Hashima, a Japanese-American native of the United States who was taken to Japan as a child, educated there, then returned to the U.S. before World War II began. According to Lummis, who interviewed Hashima, these circumstances helped introduce a certain bias into Benedict's research: "For him, coming to Japan for the first time as a teenager smack in the middle of the militaristic period and having no memory of the country before then, what he was taught in school was not 'an ideology', it was Japan itself." Lummis thinks Benedict relied too much on Hashima, who he said was deeply alienated by his experiences in Japan. "t seems that he became a kind of touchstone, the authority against which she would test information from other sources."
Read more about this topic: The Chrysanthemum And The Sword
Famous quotes containing the word criticism:
“...I wasn’t at all prepared for the avalanche of criticism that overwhelmed me. You would have thought I had murdered someone, and perhaps I had, but only to give her successor a chance to live. It was a very sad business indeed to be made to feel that my success depended solely, or at least in large part, on a head of hair.”
—Mary Pickford (1893–1979)
“In criticism I will be bold, and as sternly, absolutely just with friend and foe. From this purpose nothing shall turn me.”
—Edgar Allan Poe (1809–1845)
“The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.”
—George Steiner (b. 1929)