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1 |
ID:
133471
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Publication |
2014.
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Summary/Abstract |
The art photography of Fuchikami Hakuy? and his circle in Japanese Manchuria is commonly and benignly treated as hybridized modernism, a product of the bending of conventional 1930s Japanese styles (pictorialist, constructivist, realist) through contact with the unfamiliar and the exotic. As such it is deemed reflexive in relation to the stimuli of a new land and peoples, but disconnected from the political, economic, and social processes of imperialism and colonialism in Northeast China. The following article uses both structuralist and post-structuralist theoretical approaches to challenge this interpretation, arguing that through the skilful erasure of colonial violence and disruption, the lyrical images of villages, agriculturalists, and factories produced by Fuchikami and his Mansh? Shashin Sakka Ky?kai (Manchuria Photographic Artists Association) participate directly in processes of state construction in Manchukuo. The development of a quasi-documentary pastoral aesthetic by Fuchikami and the Manchuria photographers is given close attention in the analysis, particularly as it relates to the influence of French Barbizon school painting on late nineteenth- and early twentieth-century Japanese art.
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2 |
ID:
073923
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Publication |
New Delhi, Dominant Publishers and Distributors, 2006.
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Description |
165p.Hbk
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Standard Number |
8178883805
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Copies: C:1/I:0,R:1,Q:0
Circulation
Accession# | Call# | Current Location | Status | Policy | Location |
051706 | 954.51052/DUB 051706 | Main | On Shelf | Reference books | |
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3 |
ID:
038080
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Edition |
2nd ed.
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Publication |
Taipei, Chung Wu Publishing Co., 1971.
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Description |
xviii, 642p.: mapshbk
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Copies: C:8/I:0,R:0,Q:0
Circulation
Accession# | Call# | Current Location | Status | Policy | Location |
009464 | 940.53/LON 009464 | Main | On Shelf | General | |
009465 | 940.53/LON 009465 | Main | On Shelf | General | |
009467 | 940.53/LON 009467 | Main | On Shelf | General | |
009468 | 940.53/LON 009468 | Main | On Shelf | General | |
009469 | 940.53/LON 009469 | Main | On Shelf | General | |
009470 | 940.53/LON 009470 | Main | On Shelf | General | |
009471 | 940.53/LON 009471 | Main | On Shelf | General | |
009472 | 940.53/LON 009472 | Main | On Shelf | General | |
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4 |
ID:
038301
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Publication |
Taiwan, Chung Wu Publishing Co., 1971.
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Description |
xviii, 642p.Hbk
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Copies: C:1/I:0,R:0,Q:0
Circulation
Accession# | Call# | Current Location | Status | Policy | Location |
009466 | 951.042/LON 009466 | Main | On Shelf | General | |
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5 |
ID:
133470
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Publication |
2014.
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Summary/Abstract |
Cultural treatments of the 1995 Tokyo subway gas attacks perpetrated by Aum Supreme Truth (Aum Shinriky?) often reference another tumultuous episode that many argue belongs to the same radical impulse in Japanese society: the violent end to the 'extremist period' of the late 1960s and early 1970s, punctuated by the United Red Army's Asama Sans? incident of 1972. Yet while scholarship and the media have sought to contextualize the gas attacks by directly identifying Aum in relation to United Red Army radicalism, the works examined here thematize the unassimilated nature of the extremist period in the Japanese historical imaginary and complicate the construction of referential ties in the narration of these events. Produced in the years following the attacks, two works of manga serialized in the late 1990s and 2000s - Biriibaazu [Believers, 1999] and Nij?seiki Sh?nen [Twentieth Century Boys, 1999-2006] - represent Aum as a trace of an event that has not been fully assimilated in the cultural consciousness. These two works demonstrate how the largely unclaimed nature of the radical era highlights the problems of transcribing unprocessed events like the United Red Army incident into narrative imaginings of recent Japanese history
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