Japan’s Disaster Memorial Museums and framing 3.11: Othering the Fukushima Daiichi nuclear disaster in cultural memory
Japan’s Disaster Memorial Museums and framing 3.11: Othering the Fukushima Daiichi nuclear disaster in cultural memory
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日本灾难纪念博物馆和框架 3.11：文化记忆中的福岛第一核灾难
DOI：
10.1080/18692729.2022.2112479
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发表时间：
2022
影响因子：
--
通讯作者：
Maly Elizabeth
中科院分区：
文献类型：
--
作者：
Gerster Julia;Maly Elizabeth
随着几十个专门针对这场灾难的新展览和博物馆的激增，3.11东日本大地震，海啸和核灾难可以被认为是日本灾难记忆保存的转折点。虽然对灾难博物馆的研究有限，但它们在塑造3.11的文化记忆方面发挥着重要作用，因为它们被认为是可靠，客观的记忆机构。通过对17个政府设立的3.11博物馆的分析，本研究探讨了以下问题：公共灾难博物馆如何构建它们对3.11的再现，以及在日本三重灾难的文化记忆中创造了什么样的官方叙事？通过对博物馆的使命声明和展览的分析，以及对策展人和博物馆工作人员的采访，我们认为，大多数灾难博物馆支持克服困难为更美好的未来做出贡献的叙述，这与其他纪念博物馆（如二战或3.11灾难前的博物馆）的典型叙述具有连续性。与战争纪念及其对文化记忆的影响相比，灾难博物馆受到的学术关注相对较少。然而，这些前瞻性的信息，加上博物馆倾向于关注当地的灾害经验，强调减少灾害风险，人为地将人为灾害与自然灾害分开，这有助于将福岛核灾难作为日本漫长的灾害历史中的一个特例，在文化记忆中产生另一种影响。如果没有对这场复合灾害的充分描述，对3.11的理解和预期教训的有效传播就受到严重限制。
With the proliferation of several dozen new exhibits and museums dedicated to this specific disaster, the 3.11 Great East Japan Earthquake, tsunami, and nuclear disaster, can be considered a turning point in the preservation of disaster memory in Japan. Although there is limited research on disaster museums, they play a significant role in shaping cultural memory of 3.11, as they are regarded as reliable, objective institutions of memory. Through analysis of 17 government-established 3.11 museums, this research explores the following questions: How do public disaster museums frame their representations of 3.11, and what official narrative is created within the cultural memory of the triple disaster in Japan? Drawing from analysis of the museums’ mission statements and exhibitions, and interviews with curators and museum staff, we argue that most disaster museums support narratives of overcoming hardships to contribute to a better future, showing continuity with narratives typical of other memorial museums such as WWII, or pre-3.11 disaster museums. In contrast to the commemoration of war and its influence on cultural memory, disaster museums have received relatively little scholarly attention. Yet, these forward-looking messages, combined with tendencies of museums to focus on local disaster experiences and emphasize disaster risk reduction with an artificial separation between man-made disasters vs. natural hazards, contributes to an othering of the Fukushima nuclear disaster in cultural memory, as an outlier in Japan’s long history of disasters. Without full representation of the compound disaster, understanding of 3.11 and the effective transmission of the intended lessons is severely limited.