首先對于浮世的定義，floating world指的應該就是ukiyo，江戶時期浮世繪中所描繪，通常被與歌舞伎座和紅燈區(qū)所聯(lián)系的那個浮世。片面上來講，“浮世”所喚起的是對享樂、五官與本能歡愉的追求；哲學上尼采對于這種形似慶祝享樂主義的藝術賦予了更深的意義。 尼采在早期的《悲劇的誕生》里解釋了藝術兩面性，阿波羅式的和迪歐尼斯式的（Apollonian vs Dionysian）。Dionysus（羅馬名Bacchus）是酒神，也是狂歡、orgies和宗教狂熱的神。阿波羅在悲劇誕生里所代表的則是理性、禁欲之美，是虛幻、表面藝術的神。酒神所代表的藝術是肉欲的、本能的，與阿波羅相悖的另一種藝術。而尼采認為阿波羅的藝術只是一層糖衣，是一個美麗的謊言，在阿波羅那層美麗的幻影之下的真實是酒神的世界——那丑陋、毫無節(jié)制、只有本能沖動的，才是生命的真實。尼采認為那全盤否定理性，完全放縱的生命力才是最原本的形態(tài)。這個尼采以酒神所命名的世界和江戶浮世繪里描述的世界大概是同一個。Sensei所體會到的、并畢生嘗試用繪畫捕捉的美正那真實、本能的瞬間。他看到的是在阿波羅用理性所虛構(gòu)謊言之下真實的世界。浮世才是世界的原貌。而這個酒神的世界也是危險的、混亂的。不僅是因為被放縱的本能，而更因為這是一個必須直視死亡的世界。沒有了虛幻藝術的美化，真實世界里的痛苦和折磨都是赤裸裸的?；钤谡鎸嵤澜绲娜烁惺艿降目謶峙c歡愉是同等、甚至更加強烈的。

An Artist of the Floating World (1986), a novel by Nobel-winner Kazuo Ishiguro, was shortlisted for the Man Booker Prize; it also took home the Whitbread Book of the Year Award. Retired artist Masuji Ono’s career has delivered him prestige, but he questions his status. Due to his political position—working as a nationalist creator of propaganda for the government during World War II—Ono doubts his status after his daughter’s marriage negotiations suffer. Identity is a major theme, and Ono spends much of the novel trying to figure out his own identity and his place in his family and in the post-war world. He visits with other artists, even Kuroda, whom he feels he wronged. Ono had had doubts about Kuroda’s loyalty, which he shared with the authorities; as a result, Kuroda had been arrested. Even though Ono decides that his actions were wrong, his family doesn’t seem to think so—or they don’t care, as they enjoy the comforts his prestige provides.

Ono wonders if he really deserves his house. It once belonged to a famous artist, and he won it at auction. It wasn’t an auction for money, but rather for prestige. Now retired, Ono struggles with family matters. His youngest daughter, Noriko, was engaged to marry but the other family broke the contract. Ono presumes this is because the other family is in a different class, but his daughters are concerned the issue stems from Ono’s background.

This uncertainty launches the inspection into Ono’s past actions. He was an artist of what was called “the floating world.” Other denizens of this world included geishas, alcohol, entertainment, and romance. More and more in the 1930s, Japan tended toward nationalism; that’s when Ono shifted from creating art to creating propaganda. Ono supported nationalism, as well as the expansion of a Japanese empire.

In the years following World War II, nationalistic views such as those Ono exhibits are no longer popular. His own son-in-law is angry with Ono’s generation for sending young soldiers to die in the war while staying safe at home. Some military leaders have committed suicide, or seppuku, to atone for this as well as for their own actions in the war.

Ono examines his own actions through flashbacks and visits with old friends, artists, and comrades. Ultimately, he realizes that he played a part in what became a national disaster. One night, when his family is dining with the family of a suitor for Noriko’s hand in marriage, Ono admits that his art, his propaganda, may have negatively influenced the Japanese during the war. Though he has come to terms with his own past and admitted the impact his actions had on his family, Ono isn’t yet finished trying to clear his conscience.

He embarks next on a mission to visit his former student, Kuroda, who was imprisoned during the war. Kuroda refuses to absolve Ono despite the latter’s apologies and admission that his actions led to the former’s arrest. Ono, desperate to have someone not only agree with him that his actions caused harm but also forgive him years later, turns to his daughter. However, she refuses to see him as anything other than the prestigious artist. Finally, he connects with a former colleague, Matsuda.

Matsuda was responsible for bringing Ono into the nationalist party. Together, they come to terms with how they impacted Japan and the Japanese during the war. They also conclude in retrospect that while their actions were obviously negative, at the time, they thought they were doing the right thing. In one another’s empathy, they find redemption, which is another theme of the novel. The redeeming quality of their actions is that they tried something daring instead of taking the safe route. As artists, they ultimately decide that this is worth some good will.

In addition to the awards mentioned, Ishiguro won the Winifred Holtby Memorial Prize in 1982 and the Booker Prize in 1989. His work was published in the GrantaBest Young British Novelists issue in 1983 and in 1993. He became an Officer of the Order of the British Empire in 1995, and in 1998 he became a Chevalier de l’Ordre des Arts et des Lettres. His book Never Let Me Go was included on the list 100 Greatest English Language Novels since 1923 by Time magazine, and he was included on The Times’ list of the 50 Greatest British Writers Since 1945. Ishiguro has written novels, short story collections, short fiction, screenplays, and lyrics. In addition to An Artist of the Floating World, his most notable works are The Remains of the Day, When We Were Orphans, and Never Let Me Go.