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  1. A100 文学部/人文学研究科・文学研究科・国際言語文化研究科
  2. A100b 紀要
  3. JunCture : 超域的日本文化研究
  4. 1

富山妙子と戦後「美術」と「日本」の境界 : ルポルタージュから「歴史」へ

https://doi.org/10.18999/juncture.1.84
https://doi.org/10.18999/juncture.1.84
a0e3b1da-17c3-4894-8c76-8caf2f576c2e
名前 / ファイル ライセンス アクション
JunCture1_6.pdf JunCture1_6.pdf (1.2 MB)
Item type 紀要論文 / Departmental Bulletin Paper(1)
公開日 2020-01-28
タイトル
タイトル 富山妙子と戦後「美術」と「日本」の境界 : ルポルタージュから「歴史」へ
言語 ja
その他のタイトル
その他のタイトル From reportage to history : Tomiyama Taeko and the limits of "art" and "Japan" in the postwar period
言語 en
著者 池田, 忍

× 池田, 忍

WEKO 95725

ja 池田, 忍

Search repository
Ikeda, Shinobu

× Ikeda, Shinobu

WEKO 95726

en Ikeda, Shinobu

Search repository
アクセス権
アクセス権 open access
アクセス権URI http://purl.org/coar/access_right/c_abf2
抄録
内容記述 This paper focuses on the art of Tomiyama Taeko, from the 195Os until today. Tomiyama, a painter, was born in Kobe in 1921, and spent her childhood in the Japanese puppet-state of Manchuria. Her works address mainly social and political issues such as oppression and violence towards the weak under the global hegemony of capitalism. Starting in 1976, she started collaborating with the musician Takahashi Yûji in artworks using slides. In 1982, she participated in a film by Tsuchimoto Noriaki titled Pop Out, Balsam Seeds!Through her involvement in these various media, she was breaking free from the modern fine arts framework. Tomiyama began her artistic career when she met the coalmines and miners of Kyushu's Chikuhô region for the first time. As is well known, cultural production in the 1950s has been enshrined in cultural history, because of its reportage art and literature movements, that represented a unified avant-garde that promoted progressive political and artistic values. Nevertheless, Tomiyama, who shared the ideals of her contemporaries, has been persistently ignored in the history of art, while she herself has not always valued the importance of these earlier works. Since the 1960s, after becoming involved in the international struggles for democracy and the women's liberation movement, Tomiyama began to incorporate in her work the history of what she, who had been born in the Japanese Empire, considered to be the most extreme expression of the violence of Japanese colonial exploitation: the twin histories of forced labor and comfort women. Tomiyama clearly continued the tradition of the 195Os reportage painting movement, in their confrontation, and occasionally, its interruption of reality within artistic expression. Tomiyama excavated the depths of history, using images from folk culture to dislocate time and space, actively deploying the methods of surrealism, which sought to construct deep images that cut through the divide between conscious and unconscious. These were all techniques that grew out from the 195Os, and which she would mature and thoroughly utilize in order to expand her own artistic vision. It is because of these elements that Tomiyama's work disrupts the canonized cultural and art historical view of 195Os avant-gardism. The aim of this paper is to examine the trajectory of one woman artist who was marginalized within the context of the 195Os avant-garde, tracing how she reached the project of deconstructing and reconstructing the “history” of the 20th century, by closely analyzing her works in relation to that of other artists and the critical discourse of the time.
言語 en
内容記述タイプ Abstract
出版者
言語 ja
出版者 名古屋大学大学院文学研究科附属日本近現代文化研究センター
出版者
言語 en
出版者 Research Center for Modern & Contemporary Japanese Culture, Nagoya University Graduate School of Letters
言語
言語 jpn
資源タイプ
資源 http://purl.org/coar/resource_type/c_6501
タイプ departmental bulletin paper
出版タイプ
出版タイプ VoR
出版タイプResource http://purl.org/coar/version/c_970fb48d4fbd8a85
ID登録
ID登録 10.18999/juncture.1.84
ID登録タイプ JaLC
ISSN(print)
収録物識別子タイプ PISSN
収録物識別子 1884-4766
書誌情報 ja : JunCture : 超域的日本文化研究

巻 1, p. 84-97, 発行日 2010-01-01
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