Supreme Modern Japanese 19/14 University of Tokyo Question 1 (Criticism)

[2014 University of Tokyo / Japanese / Question 1 / Answer and Explanation]

<Introduction>
For examinees and those with time, please read the original text once, think about the questions at your own level, and then use the following explanation as a reference. Regardless of whether you are taking an exam, University of Tokyo problems are worth reading, and the structure is designed to deepen your understanding by tackling the questions.
Appropriate answers can be obtained by following appropriate reading comprehension. In reading comprehension, it is important to focus on expressions to extract important parts (micro-reading) and to grasp the structure of the text by focusing on the relationships between formal paragraphs (macro-reading).

<Understanding the Text>
The source is Naoki Fujiyama's "Psychoanalysis of the Land of Rakugo." The preface states, "A psychoanalyst compares his own work with Rakugo."
Paragraph 1. What Rakugo performers and analysts have in common when they are working is, first of all, overwhelming loneliness. A Rakugo performer faces a customer who has paid money and come specifically to "be entertained" all alone. The Rakugo performer has no co-performers, cannot blame the writer because everyone tells the same classic stories, and has no director. They have to take everything on themselves. Moreover, the reaction can be caught almost entirely by the laughter on the spot. The results bounce back to the performer themselves with cruel intensity. They have no choice but to face that loneliness and finish telling the story.
Paragraph 2. An analyst also has no choice but to face the expectations of the patient who visits them every day alone. There is no one else there; it is just the patient and the analyst. They face a patient who pays money and visits many times a week, aiming for an essential improvement in their own life. The analysis fee is not very cheap. The patients are earning average or above-average incomes. They are functioning as adults or better in society, but they are people who harbor deep suffering in their personal lives. There are many sessions that produce no results. Even so, they have no choice but to sit there for 50 minutes.
Paragraph 3. The loneliness of a Rakugo performer exposed to the expectant gazes of a large audience. The loneliness of an analyst exposed to the life-or-death expectations of a single patient. In any case, they are required to face the situation all alone in front of something so large that it shakes them, survive it, and still produce some kind of result. Failing to do so means that their own life is subtly, but surely, threatened. The customers stop coming. The patients stop coming.
Paragraph 4. Perhaps to be able to do satisfactory work in "this loneliness that freezes the heart" (underlined part A), one needs to internalize a certain culture and be firmly held by it. However, it is impossible for such a culture to be applied as is, both in Rakugo and in psychoanalysis. This is because they are dealing with others, namely the audience and the patient.

Paragraph 5. In all performing arts such as theater, there exists a split between the "self that is performing" and the "self that is watching." In Rakugo, especially classical Rakugo, it is necessary to constantly repeat the task of watching from the perspective of the audience currently in front of you while performing based on the style of the story you have learned. A joke that made the audience laugh a lot yesterday may not be well-received today. He must temporarily become today's audience and watch the self that is performing. A dialogue between a completely different self and oneself is necessary.
Paragraph 6. Moreover, the art of storytelling called Rakugo contains a moment of division of a different dimension that other performing arts do not have. This is because Rakugo is a storytelling art of direct speech. To put it simply, Rakugo is a one-man play. The performer identifies with the characters in the story moment by moment. The characters appearing in the story are boke-ing (playing the fool) and tsukkomi-ing (playing the straight man) to each other. For this to be established, those characters must appear there as multiple others who do not know each other's intentions. For Rakugo to be experienced vividly by the audience, it is necessary for the performer to thoroughly maintain this otherness. "The Rakugo performer's self is occupied and split by several others who each possess otherness" (underlined part B).
Paragraph 7. Perhaps the uniqueness of the storytelling art of Rakugo lies in this way of splitting. To put it further, I think the pleasure of watching a Rakugo performer who is enjoying such a split is at the core of the joy of watching Rakugo. And the fact that humans are essentially split is the basic assumption of psychoanalysis. There are multiple selves operating autonomously within the self, and "a kind of illusion called a unified 'I'" (underlined part C) is generated within their dialogue and interaction. That is one of the basic understandings of psychoanalysis. The audience watching Rakugo can enjoy viewing their own inherent split from the outside in a vivid form. They experience something like hope in seeing a human being who, while split, is still living as a single Rakugo performer.

Paragraph 8. "The work of a psychoanalyst is also actually colored by splitting" (underlined part D). An analyst understands the patient by becoming a part of the patient. (Concrete example: For a patient who has a world of someone persecuting them in their heart and a self that is afraid of it, the analyst sometimes becomes the persecutor and sometimes becomes the helpless self.) In this way, the patient's world of the heart appears in a concrete form within the psychoanalytic situation, the analyst becomes multiple parts of the patient's self, and that self splits.
Paragraph 9. Of course, one cannot do the work of psychoanalysis just by becoming something that is not oneself. At some point, the analyst must be able to view the situation from the analyst's own perspective and understand the patient's world. As a result of such understanding, the analyst conveys something. There are parts of the patient that are healed by those words, stories, and interpretations, but that is probably not all. Perhaps "the very way of the analyst as a living human being who can recover from the split for a moment and see themselves from a different perspective gives hope to the patient" (underlined part E). It may be that one does not have to be unconsciously swayed and pushed around by someone in their heart. They might be able to be a single human being with personal desires and thoughts, an autonomous existence.

<Question Explanation>
Question 1: Explain what "this loneliness that freezes the heart" (underlined part A) means. (About 60 characters)

Content explanation question. It is required to concretize "this... loneliness" and translate the metaphorical expression "freezes the heart" into a general expression. Furthermore, note that here, the question asks about the substance of the loneliness shared by the Rakugo performer (X) and the analyst (Y). For questions explaining commonality (analogy), like contrast, either state it in a lump-sum type "Both X and Y are A" or a separate type "X is (x1, x2, x3...) and Y is (y1, y2, y3...)".
In this case, focus on "In any case" in paragraph 3 and process it as a "lump-sum type." If so, as the content referred to by "this... loneliness," paraphrase the part after "In any case"—"he faces the situation all alone in front of something so large that it shakes him / survives it / is required to produce some kind of result"—into a general expression, and add the nuance of "freezes the heart" (→ I used "tremble").
The core of the answer is formed with the above, but it is also necessary to examine the description after the underlined part in paragraph 4, which is in the same meaning paragraph. First, regarding "internalization of culture," it is a stance toward "loneliness," so it is not necessary for the explanation of the underlined part itself. However, I want to incorporate the element of "others, namely the audience and the patient" that follows. This is because "otherness" = "heterogeneity with the self" (this explanation is left to the answer for Question 2) is a fundamental element that deepens "loneliness."

<GV Answer Example>
Both the Rakugo performer and the analyst are forced to carry the excessive expectations of others, which are too much for a single person, while trembling at the weight of that responsibility, as if betting their lives on it. (65 characters)

<Reference S-dai Answer Example>
Both the Rakugo performer and the analyst have no choice but to face others all alone, internalizing culture and betting their own existence to try to meet the other's expectations. (59 characters)

<Reference K-juku Answer Example>
Being exposed to the eyes of others whose reactions cannot be predicted, and taking on the responsibility of meeting those expectations all alone, becomes the reason for one's own existence. (63 characters)

Question 2: Explain what "The Rakugo performer's self is occupied and split by several others who each possess otherness" (underlined part B) means. (About 60 characters)

Content explanation question. Divide it into "The Rakugo performer's self is / occupied by several others (B) / who each possess otherness (A) / and splits." First, what are "several others" in B? From paragraph 5, it splits into the "performer (themselves)" and the "audience," and furthermore, each individual splits into an individual "audience member" (split 1), and they watch the "performer (themselves)" from the perspective of the "audience." This "audience" possesses "otherness" in the sense of being a "completely different (another) self" (A).
Based on that premise (focusing on "Moreover" at the beginning of paragraph 6 and "a moment of division of a different dimension"), from paragraph 6, the performer "identifies with the characters in the story moment by moment" (split 2). Those characters possess "otherness" in the sense that they "do not know each other's intentions" (A). Summarize the above.

<GV Answer Example>
The Rakugo performer needs to perform while alternating between characters who do not know each other's intentions, after standing from the perspective of individual audience members who are heterogeneous to the self. (65 characters)

<Reference S-dai Answer Example>
The Rakugo performer objectifies the self that is performing from the perspective of the other called the audience, and then performs the living dialogue of multiple others who are autonomous from each other. (58 characters)

<Reference K-juku Answer Example>
The Rakugo performer, who performs the story with a sense of presence, erases the self as a narrator and lives by becoming each of the characters who do not know each other's intentions each time. (68 characters)

Question 3: Explain what "a kind of illusion called a unified 'I'" (underlined part C) means. (About 60 characters)

Content explanation question. It is the most difficult among the questions up to Question 4. It is good to explain by changing the noun "illusion" into an "expression with movement." Since "illusion" generally means "to have a way of looking at things that does not follow the facts," point out the factual nature that serves as a standard. That factual nature is that "humans are essentially split." Paraphrase this just before the underlined part as "there are multiple selves operating autonomously within the self," and it continues as "within their dialogue and interaction / (underlined part C) / is generated."
From this understanding, it becomes "as a result of multiple selves that are essentially split autonomously performing dialogue and interaction, a fiction called a unified 'I' is born," but it is still shallow. Isn't it necessary to explain this mechanism of "...as a result of performing dialogue and interaction, ...is born"?
In the first place, the part containing the underlined part (the three sentences from "And" in paragraph 7) followed the content that "the pleasure of Rakugo is watching the 'split' of the performer." And after pointing out the "essential split nature of humans," it returns to the story of Rakugo again, stating, "The audience watching Rakugo can view such an inherent split of themselves... from the outside... and experience something like hope."
If you follow this, can't you find the connection of "essential split" → "viewing from the outside (objectification)" → "integration = hope"? Of course, here, the similarity between this "integration mechanism of Rakugo" and the "integration mechanism of the split self" must be conscious.
Therefore, I explained the mechanism mentioned earlier as "as an existence that objectifies the situation where multiple selves perform dialogue and interaction, an integrated 'I' as a fiction appears." Although I expressed the nuance of "illusion" with the words "fiction" and "appears," it would be good to be able to use the word "phenomenon" especially as an antonym for "essence."

<GV Answer Example>
As an existence that objectifies the situation where multiple selves that are essentially split autonomously repeat dialogue and interaction, an integrated 'I' as a fiction appears. (65 characters)

<Reference S-dai Answer Example>
Humans live by regarding their own existence, where essentially split heterogeneous selves interact, as a subject with integration as an individual. (59 characters)

<Reference K-juku Answer Example>
Humans are beings split into multiple selves that operate autonomously, but they can feel the totality of their interactions as a personality with unity. (66 characters)

Question 4: Explain what is meant by "the work of a psychoanalyst is also actually colored by division" (underlined part E). (Approx. 60 characters)

A content explanation question. An explanation of the "divisiveness of the analyst" is required. One must understand not only the point in paragraph 8 that "the analyst projects the patient's division into their own inner self and the analyst themselves also divides," but also add the aspect from paragraph 9 of "objectifying that state of self-division as an analyst" as one facet of division. This is because the "divisiveness of the analyst" in this question traces the "divisiveness of the rakugo performer" in Question 2—that is, "objectification → division"—in reverse ("division → objectification"), and in Question 2, the aspect of "objectification" was also added as a facet of division.
Up to this point is standard. What is likely to differentiate answers is the consideration given to the expression "is also actually" in the underlined part. Regarding the "also" (mo), it is clear that it parallels the "rakugo performer" and the "analyst" from the preceding paragraphs, so I will treat that as self-evident. However, the "actually" (jitsu wa) must not be treated as self-evident; in other words, a correct understanding must be incorporated into the answer.
The expression "actually" is likely used when clarifying a "truth that has become difficult to see due to common sense, etc." The "ordinary" state here is an "analyst dealing with a patient suffering from self-division." However, "actually," that analyst also "divides." I want to incorporate this understanding into the expression.

<GV Answer Example>
It means that an analyst facing a patient struggling with self-integration also identifies with the patient's multiple personalities and undergoes division, and by objectifying that, attempts to understand the patient. (65 characters)

<Reference: S-Dai Answer Example>
It means that in order for an analyst to understand the patient's world and provide advice, they have no choice but to assimilate into the patient's divided multiple selves and experience division themselves. (56 characters)

<Reference: K-Juku Answer Example>
It means that when an analyst understands a patient, while becoming the patient's divided multiple parts, they are also grasping that situation from the analyst's own perspective. (65 characters)

Question 5: It is stated that "the way of the analyst themselves as a living human being gives hope to the patient" (underlined part O). Why can this be said? Explain in 100 to 120 characters, touching upon the commonality with a rakugo performer.

A "reason explanation type" summary question. The basic steps are as follows.
1⃣ Summarize the direct reason for the underlined part itself. (Foundation of the answer)
2⃣ Select the necessary logic that connects to the "foundation" and determine the structure. (Outline)
3⃣ Pick necessary small elements from the full text and concretize the outline. (Details)

1⃣ Let "the way of the analyst themselves as a living human being" be S (starting point) and "gives hope to the patient" be G (end point), and search for the reason R that connects them. S needs to be rephrased by adding the part before the underlined section. Therefore, adding the understanding from Question 4, let it be "the analyst's stance of accepting the patient's division and then objectifying it" (S+).
Why does it lead to "hope"? From the final line, it is because it "makes (a patient suffering from division) think of them as an autonomous human being." How? From the understanding in Question 3, it is because the analyst's attempt at "objectification" shows the "possibility of integration."
I will summarize this up to here as "because S+ brings a perspective that integrates division to a patient suffering from division."
2⃣ Regarding the outline, follow the questioner's hint. That is, touch upon the "commonality with a rakugo performer (X)." If so, it becomes a question of analogy, and I will use the "separation type" structure examined in Question 1. If there is space, the "separation type" is generally more advantageous as it can also express the nuance differences between the two (X/Y).
I will set the structure as: "Just like a rakugo performer who (x2→x3) for (x1) audience, an analyst who (y2→y3) for (y1) patient brings a perspective that integrates division." * (x2→x3) and (y2→y3) become the vector of (division → integration).
3⃣ First, extract the commonality of "excessive expectations of the audience/patient" (overwhelming loneliness of the rakugo performer/analyst) from paragraphs ①②③④. From paragraphs ⑤⑥⑦, point out the "division of the rakugo performer," that is, the rakugo performer performing while "switching between multiple characters," and that this is shown to the audience as "a cohesive single world by one person." Paragraphs ⑧⑨ have already been considered.
Finally, add the "essential (original) divisiveness of human existence" from paragraph ⑦. That is precisely why the way of the rakugo performer and analyst of "accepting division and bringing integration to it" brings "hope" to people.

<GV Answer Example>
Just like a rakugo performer who shows a single world while moving between multiple personalities to an audience with various expectations, the analyst's stance of accepting the weight of the divided personalities and then objectifying them for a patient hoping for essential improvement in life brings a perspective that integrates the original divisiveness of humans. (120 characters)

<Reference: S-Dai Answer Example>
Like a rakugo performer, a psychoanalyst is an existence that internalizes culture, confronts others alone, and speaks by objectifying their own dividing self from the perspective of others; a patient suffering from a divided self senses the possibility of recovery to live autonomously in the figure of the analyst who continues to work even while divided. (120 characters)

<Reference: K-Juku Answer Example>
Just as a rakugo performer entertains the audience by showing one person divided into various characters, an analyst, for a patient suffering from a divided self, takes on alone a way of life that embodies the patient's division while having a perspective that overlooks it, and shows that state as the patient's own possibility. (120 characters)

Question 6 (Kanji)
a. Earn (稼) b. Console (慰) c. Threaten (脅) d. Emotion (情緒) f. Opportunity (契機)

<Summary of Question Focus Points>
1. Analogy → Batch type / Generalization of "freezing."
2. Two stages of "division" / Concretization of "otherness."
3. Verbalization of "illusion" / Use of similarity.
4. Use of similarity / Concretization of "actually."
5. SG formula / Analogy → Separation type.