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The Theoretical Study on the War Representations : Rereading the Japanese War Paintings in Modern Times.

战争表现的理论研究：近代日本战争绘画的重读。

基本信息

批准号：
16602022
负责人：
KITAHARA Megumi
金额：
$ 2.5万
依托单位：
Konan University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2004
资助国家：
日本
起止时间：
2004 至 2005
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/en/grant/KAKENHI-PROJECT-16602022/
关键词：
War Representation Gender War Painting Nationalism Media Art Emperor System ポストコロニアリズム言説

项目摘要

◆2004The main theme on the first year is to study by both visual and discursive analyses of how the genre of the "War Paintings" has been constructed in Japan, what is named as the "War Paintings" and what is excluded, and how its border functions. Therefore I started to collect, (1) basic articles, news, papers, pictorial records, books, exhibition catalogues and documents on the war images and arts, (2) Fieldworks in Korea, (3) Participation in the study group, "War and Women" in Tokyo that is a meeting by art historians in Japan.)◆2005On the second year, I focused on three pieces of paintings exhibited at "the Second Greater East Asia War Art Exhibition" and the exhibition in particular in the visual war representations of "paintings of war recording" ordered by Japanese military authorities. I investigated its history and function, the reputation of the exhibition surveying the articles in newspapers and art magazines during the Asia-Pacific war time. As a result, I found many new … More facts on this exhibition and war paintings, and published several articles on this topics. While the exhibition and three paintings were very famous and played the significant roles during the war, Japanese forgot them and the artists themselves did not mention them after the war. None of art historians deal with these art works and the politics of collective memories in Japan.In addition, I found new theme of Japanese war paintings carried by the Reports of General MacArthur (1966), and I paid attention on it for the first time and wrote a brief article. (1)Collection of basics documents, pictures and publication of the war representations, (2)museums in Vienna concerned with the memory and image of wars.○Fieldworks in Korea (Cheju Island ; August, 2004), visiting museums and historical sites related former Japanese military, (Kwangju biennale and Pusan biennale ; September, 2004), ○Oral Presentations in the "Photography Study Group" in Doshisha Univ. (May, 2005), in the "Race Study Group" in Kyoto Univ., (May, 2005), in the Image and Gender Group (July, 2005). Fieldworks in Eta-Ireland in Hiroshima (August, 2005), in Vienna (October, 2005), in Miyazaki and Kumamoto (December, 2005). Less

◆ 2004年第一年的主题是通过视觉和话语分析来研究“战争绘画”的类型在日本是如何构建的，什么被称为“战争绘画”，什么被排除在外，以及它的边界功能如何。因此，我开始收集，（1）基本文章，新闻，论文，图片记录，书籍，展览目录和文件的战争图像和艺术，（2）在韩国的实地考察，（3）参加研究小组，“战争与妇女”在东京，这是一个会议，由艺术史学家在日本。◆ 2005年第二年，我专注于“第二届大东亚战争艺术展”展出的三件绘画作品，特别是日本军事当局订购的“战争记录绘画”的视觉战争表现。我通过对亚太战争时期报纸和艺术杂志上的文章的调查，考察了它的历史和功能，以及展览的声誉。结果，我发现了许多新的 ...更多信息关于这次展览和战争绘画的事实，并发表了几篇关于这个主题的文章。虽然展览和三幅画在战争期间非常有名并发挥了重要作用，但日本人忘记了它们，战后艺术家自己也没有提到它们。这些艺术作品和日本集体记忆的政治，没有一个美术史学家涉及，另外，我发现了《麦克阿瑟将军报告》（1966）所承载的日本战争画的新主题，我第一次注意到了这一点，并写了一篇短文。（1）收集有关战争的基本文件、图片和出版物，（2）在维也纳建立有关战争记忆和图像的博物馆。（济州岛，2004年8月），参观博物馆和历史遗迹有关的前日本军队，（光州双年展和釜山双年展; 2004年9月），○同志社大学“摄影研究小组”的口头报告（2005年5月），京都大学“种族研究小组”的口头报告，(May，2005年），在形象和性别小组（2005年7月）。在广岛（2005年8月）、维也纳（2005年10月）、宫崎和熊本（2005年12月）的埃塔-爱尔兰实地考察。少