지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Although Manchukuo professed to be an informal empire, it was inherently a colony of Imperial Japan which was disguised with a puppet state. Unlike other established colonies, the Japanese of the time saw it as an expansion of their thinking and world view. Thoughts representing this appear in slogans like Kingly Way(王道樂士) and Harmony of the Five Races(五族協和). Such slogans were enthusiastically backed by the cultivated Japanese, offering the possibility of trans-nationalism. It was, however, nothing but an extreme manifestation of ultra-nationalism, often requested during war time.
Manchukuo was also regarded as a 'laboratory of Imperial Japan,' that executed diverse artistic ideals and programs impossible to conduct in Japan. In my dissertation I examine how an image of Manchukuo was formed through artwork by Japanese painters. between the 1930s and the 1940s, and by discourse on their art. Some artists simply reproduced mainstream, Imperial ideology, and adhered to government policy. Included in this group are Okada Saburousuke, whose Kingly Way mural represents Manchuria as a paradise, attained through multi-national collaboration, based on economic prosperity. Also Kwabata Ryushi, whose serial work expressed the emotion of Romanticism and militarism, displaying sympathy for state intentions. Painters who experienced Manchuria by travel saw it as a place for exploring new realist methodology. Ideal images of Manchuria clash with images that they generated from firsthand experience, especially those by non-mainstream groups of artists, affiliated with the Independent Fine Arts Association. The gap between ideal and reality is also, unconsciously represented, in Nakayama Takashi's work, also in Hukuzawa Ichiro's work, poignantly denunciating this gap through metaphor, implication, and satire. For Kai Mihachirou and member artists of the Research Society for Manchuria Local Color who accepted Manchuria as their living space, their work was motivated by longing for and confusion in their identity. Some causes such as a sense of crisis for their loss of home and demand on their collective identity as a people of the modernized fatherland made them perceive Manchuria as their new fatherland.
Due to its diversity, such as its contradictory quality as Imperial Japan's colony and an independent state; coexistence of encouraged solidarity and substantial discrimination; romantic emotions offered by its regional specificity as a vast land; and a laboratory of Imperial Japan, Manchukuo is presented differently from other colonies. In the study of Manchukuo, it's required to renew our understanding of relationships between an empire and a colony as the one-sided flow between the ruling and the ruled. We need to compare and examine a variety of visual genres, noting relationships between an empire and its colonies, and between each colony and its intake of heterogeneous culture.
Manchukuo was also regarded as a 'laboratory of Imperial Japan,' that executed diverse artistic ideals and programs impossible to conduct in Japan. In my dissertation I examine how an image of Manchukuo was formed through artwork by Japanese painters. between the 1930s and the 1940s, and by discourse on their art. Some artists simply reproduced mainstream, Imperial ideology, and adhered to government policy. Included in this group are Okada Saburousuke, whose Kingly Way mural represents Manchuria as a paradise, attained through multi-national collaboration, based on economic prosperity. Also Kwabata Ryushi, whose serial work expressed the emotion of Romanticism and militarism, displaying sympathy for state intentions. Painters who experienced Manchuria by travel saw it as a place for exploring new realist methodology. Ideal images of Manchuria clash with images that they generated from firsthand experience, especially those by non-mainstream groups of artists, affiliated with the Independent Fine Arts Association. The gap between ideal and reality is also, unconsciously represented, in Nakayama Takashi's work, also in Hukuzawa Ichiro's work, poignantly denunciating this gap through metaphor, implication, and satire. For Kai Mihachirou and member artists of the Research Society for Manchuria Local Color who accepted Manchuria as their living space, their work was motivated by longing for and confusion in their identity. Some causes such as a sense of crisis for their loss of home and demand on their collective identity as a people of the modernized fatherland made them perceive Manchuria as their new fatherland.
Due to its diversity, such as its contradictory quality as Imperial Japan's colony and an independent state; coexistence of encouraged solidarity and substantial discrimination; romantic emotions offered by its regional specificity as a vast land; and a laboratory of Imperial Japan, Manchukuo is presented differently from other colonies. In the study of Manchukuo, it's required to renew our understanding of relationships between an empire and a colony as the one-sided flow between the ruling and the ruled. We need to compare and examine a variety of visual genres, noting relationships between an empire and its colonies, and between each colony and its intake of heterogeneous culture.
목차
Ⅰ. ‘만주국’이라는 사상
Ⅱ. 지배자의 시선: 국책에 편승한 화가들
Ⅲ. 여행자의 시선; 재야단체 화가의 만주 표현
Ⅳ. 생활자의 시선: 만주 거주 일본인 화가의 향토색
Ⅴ. 결론을 대신하여: 실험 국가로서의 만주국, 교차하는 관계성 속의 만주국 표상 연구
참고문헌
ABSTRACT
참고문헌 (42)
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UCI(KEPA) : I410-ECN-0101-2010-650-002548362