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

2004年第一年的主要主题是通过视觉和话语分析的方式研究“战争画”的流派在日本是如何构成的，什么被称为“战争画”，什么被排除在外，以及它的边界是如何发挥作用的。因此，我开始收集：(1)关于战争图像和艺术的基本文章、新闻、论文、画册、书籍、展览目录和文献；(2)韩国田野作品；(3)参加日本艺术史学家会议在东京举行的“战争与妇女”学习小组。2005年第二年，我专注于在“第二届大东亚战争艺术展”上展出的三幅画作，特别是日本军事当局下令的“战争记录绘画”的视觉战争表现。我调查了它的历史和功能，调查了这次展览的声誉，调查了亚太战争时期报纸和艺术杂志上的文章。结果，我发现了很多新的…更多关于这次展览和战争画的事实，并发表了几篇关于这个主题的文章。虽然展览和三幅画非常著名，在战争期间发挥了重要作用，但日本人忘记了它们，战后艺术家们自己也没有提到它们。没有一个艺术史学家研究这些艺术作品和日本的集体记忆政治。此外，我发现了麦克阿瑟将军(1966)报告中所承载的日本战争画的新主题，我第一次对此进行了关注，并写了一篇简短的文章。(1)收集有关战争的基本文献、图片和出版物，(2)维也纳的博物馆，涉及战争的记忆和图像。0在韩国的实地考察(济州岛，2004年8月)，参观与前日本军队有关的博物馆和历史遗迹(光州双年展和釜山双年展，2004年9月)，0在斗士沙大学的“摄影学习小组”中作口头陈述。(2005年5月)，京都大学“种族研究小组”(2005年5月)，形象与性别小组(2005年7月)。在爱尔兰埃塔的FieldWorks：广岛(2005年8月)、维也纳(2005年10月)、宫崎骏和熊本(2005年12月)。较少

◆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