Personified Continents in Public Places: Internationalism, Art, and Geography in Late Nineteenth Century Paris
Personified Continents in Public Places: Internationalism, Art, and Geography in Late Nineteenth Century Paris
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公共场所的拟人化大陆：十九世纪末巴黎的国际主义、艺术和地理
DOI：
10.1007/978-3-030-49516-9_8
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发表时间：
2020
期刊：
影响因子：
--
通讯作者：
Shimazu Toshiyuki
中科院分区：
文献类型：
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作者：
湯澤規子;湯澤規子;湯澤規子;湯澤規子;湯澤規子;湯澤規子;湯澤規子;Noriko Yuzawa;湯澤規子;湯澤規子;湯澤規子;湯澤規子;湯澤規子;湯澤規子（分担執筆）;湯澤規子;湯澤規子;湯澤規子;湯澤規子（矢ケ﨑典隆・森島斉・横山智編）;湯澤規子（中西聡編）;Shimazu Toshiyuki
本文通过讨论世纪后期巴黎的两个案例，来考察国际主义、艺术和地理之间尚未探索的关系。我采用了一种将雕塑作为文本的方法，并运用了尺度跳跃和富有想象力的地理概念，在这里我把重点放在了代表各大洲的女性雕像上。世纪后期的巴黎被描述为一系列通过某种规模跳跃来促进国际主义的项目和活动的发生地。世界博览会和国际会议是国际主义，特别是霸权主义的典型事件。《世界五党》的建立实际上与围绕本初子午线选择的辩论和主张有关，本初子午线是两次巴黎国际地理大会的主题之一：1875年的国际地理科学大会和1878年的国际商业地理大会。《世界五党》的地貌传达了一个明显的信息，即欧洲凌驾于其他国家之上，喷泉和雕像旨在象征巴黎子午线本身，并维护其作为计算世界经度的起点的地位。“六大洲”这个组织起源于1878年巴黎世界博览会上出现的那种霸权主义的国际主义和富有想象力的地理学。虽然六大洲的出现表明了从原始大洋洲到文明欧洲的线性进步，但它们在特罗卡德罗宫的开幕式上的安排标志着地中海世界的历史和地理中心地位。《世界五大洲》和《六大洲》都可以看作是奥特利乌斯第一部世界地图集扉页的后代。树立大陆雕像的做法可以被视为一种地理做法，这些雕像也可以被理解为另一种地质体。
This paper examines the yet unexplored relationships between internationalism, art, and geography by discussing the two cases of Paris, in the late nineteenth century. Using a landscape-as-text approach and the concepts of scale jumping and imaginative geographies, I focused here on the female statues representing the continents. Late nineteenth century Paris was characterized as the site where occurred a host of projects and events promoting internationalism by means of some kind of scale jumping. The world’s fairs and international congresses were typical events concerning internationalism, especially a hegemonic one. The erection ofLes Quatre Parties du Mondewas virtually linked to the debates and assertions surrounding the selection of the prime meridian, which was one of the themes at the two Paris international geographical congresses: the Congrès International des Sciences Géographiques in 1875, and the Congrès International de Géographie Commerciale in 1878. The physiognomies ofLes Quatre Parties du Mondedelivered an apparent message of the supremacy of Europe over others, and the fountain and statues were intended to symbolize the Paris meridian itself and to assert its status as the starting point for the calculation of the world’s longitude. The group ofLes Six Continentswas stemmed from the sort of hegemonic internationalism and imaginative geographies that found themselves at the 1878 Paris International Universal Exposition. While the appearances ofLes Six Continentsindicated a linear progress from primitive Oceania to civilized Europe, their arrangement at the inaugural ceremony at the Palais du Trocadéro, signified the historical and geographical centrality of the Mediterranean world. BothLes Quatre Parties du MondeandLes Six Continentscould be taken as the descendants of the title page of Ortelius’ first world atlas. The practice to erect the statues of the continents could be regarded as a geographical practice, and these statues could also be understood as a different kind of geo-body.