Nations in shame and art’s shame: towards a radical politics of image and affect around “Okinawa”
Nations in shame and art’s shame: towards a radical politics of image and affect around “Okinawa”
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国家的耻辱和艺术的耻辱：围绕“冲绳”走向激进的形象和影响政治
DOI：
10.1080/14649373.2018.1543306
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发表时间：
2018
影响因子：
0.5
通讯作者：
Inoue Mayumo
中科院分区：
文献类型：
--
作者：
TAKAHASHI;Ayako;高橋綾子;Izumi Sugawa;須川 いずみ;Yoko Sato;須川 いずみ;Yoko Sato;佐藤 容子;Yoko Sato;佐藤 容子;Yoko Sato;佐藤容子;Hiromi Ochi;Yoko Sato;森岡裕一;Inoue Mayumo
本文首先考察了流行的、半学术性的民族主义话语的复苏，这些话语在1945年后美国主导的跨亚太民族国家形成中巩固了“日本”和“冲绳”的形象。它批评了两种话语，这两种话语是这种国家形象回归的症状：发展经济学家松岛靖津的“琉球独立”论文和哲学家高桥哲也呼吁将美国军事基地从冲绳迁往日本本土。在冲绳和日本本土，这些相互转移的民族主义的典型例子依赖于对自我和他人的粗鲁的文化主义假设，因此令人惊讶的是，这些国家形式是如何作为帝国现代性的一部分而建立起来的。他们对模范国家主体的含蓄比喻参与了生物政治假设，即谁的生命必须在国家边界内外“被制造出来”和“被制造出来”。最终，这种关于日本和冲绳的民族主义话语是一种帝国耻辱和殖民耻辱的零和交换，这一过程进一步稳定了在美国领导的国家间战争和生命政治制度下地方民族形式的合作安置。但只要这些话语需要他们试图表现的民族形象，他们（重新）生产的酒井直树所说的“共同形象的”民族需要通过探索一种激进的美学和与图像生产有关的影响来进行批评。文章的第二部分是我对艺术家Nema Satoko最近出版的摄影集《范式》（paradigm）的解读，在这本书中，身体和物体在彼此不稳定的接触中探索了它们潜在的转变。我认为Nema关于脆弱的身体和物体的图像在冲绳现在的风景中处于一个风口浪尖上，它唤起了一种羞耻感，而过去潜在的未来则需要一种谦卑的道德姿态。在阿多诺的“艺术的耻辱”概念附近，内玛的摄影图像照亮了脆弱生物的无定形领域，他们彼此的联系和暴露打开了一个生存空间，被国家形式的生物政治想象所掩盖。
This article first examines the resurgence of popular, semi-academic nationalist discourses that solidify the figures of “Japan” and “Okinawa” within post-1945 U.S.-led formation of nation-states across the Asia-Pacific. It critiques two discourses that are symptomatic of such a return to the figure of the nation: developmental economist Matsushima Yasukatsu’s thesis of “Ryukyu’s independence” and philosopher Takahashi Tetsuya’s call to relocate the U.S. military bases from Okinawa to mainland Japan. These symptomatic instances of the mutually transferential nationalisms in Okinawa and mainland Japan rely upon crudely culturalist assumptions about the self and the others and are thus surprisingly oblivious to how the very nation-forms have been instituted as part of imperial modernity. Their implicit figurations of the exemplary national subjects partake in the biopolitical assumptions as to whose lives must be “made to live” and “made to die” within and outside the border of the national. Ultimately, such nationalist discourses about Japan and Okinawa engage in a zero-sum exchange of imperial shame and colonial shame, a process that further stabilizes the co-operative placement of local nation-forms within the U.S.-led inter-state regime of warfare and biopolitics. But insofar as these discourses require theimagesof the nations that they seek to represent, their (re)production of what Naoki Sakai calls “a schema of co-figurative” nationalities needs to be critiqued through an exploration of a radical aesthetics and affect that pertain to image production.The second part of the article presents my interpretation of artist Nema Satoko’s recent book of photography titledParadigm, a work in which both bodies and objects explore their potential transformations in the midst of their precarious exposure to one another. I argue that Nema’s images of fragile bodies and objects in the present landscape of Okinawa are poised on the cusp between the past that invokes a sense of shame and this past’s potential future that necessitates an ethical posture of humility. In the vicinity of Adorno’s notion of “art’s shame,” Nema’s photographic images illuminate an amorphous realm of fragile beings, whose linkage and exposure to one another opens a space of viability that is obscured by the biopolitical imaginaries of nation-forms.