2. Author Affiliation: Pennsylvania State University, USA.
摘要
How does art cultivate moral reflexivity? Maruki Iri and Maruki Toshi, eyewitnesses to the atomic aftermath at Hiroshima, were the first artists to publicly display works showing the effects of nuclear irradiation on the human body. While their work has long been considered antiwar, few attempts have been made to theorize how their compositions structure an ethical response to aggression. Three interconnected zones of representation are explored: the artists' murals, Toshi's testimonials regarding the creation of the murals, and the museum in which the murals are displayed. Bringing Japanese Buddhist traditions for the depiction of suffering (etoki 解給[unrepresentable symbol] 'picture explanation,' hell screen art) into conversation with contemporary theories of performance (Turner's concept of the "subjunctive mood," Taylor's notion of "the repertoire"), memory (Kansteiner's "collected memory," Auron's "pain of knowledge"), and museum studies (Crane's "distortion"), I articulate a contemporary Japanese model of nuclear criticism.
目次
Hell in the Japanese Visual Imaginary 1616 Gestures of Moral Reflexivity 1618 Collecting Memory 1622 Museum Space as Ritual Space 1625 Staging Encounters with Suffering 1626 Conclusions 1628 Notes 1629 Works Cited 1630
