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Reassembling Symbolic Japan : = Contemporary Painting, Politics and the Negotiation of War Memory.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Reassembling Symbolic Japan :/
Reminder of title:	Contemporary Painting, Politics and the Negotiation of War Memory.
Author:	Osenton, Sara.
Description:	1 online resource (331 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 79-04(E), Section: A.
Subject:	Asian history. -
Online resource:	click for full text (PQDT)
ISBN:	9780355531282

Reassembling Symbolic Japan : = Contemporary Painting, Politics and the Negotiation of War Memory.
Osenton, Sara.

Reassembling Symbolic Japan :Contemporary Painting, Politics and the Negotiation of War Memory. - 1 online resource (331 pages)

Source: Dissertation Abstracts International, Volume: 79-04(E), Section: A.

Thesis (Ph.D.)--University of Toronto (Canada), 2017.

Includes bibliographical references

This dissertation examines the work of twelve living and producing Japanese artists, including Aida Makoto, Ikeda Manabu, Yamaguchi Akira and others. I argue that the works can be read as productive critical engagements with the problem of memory and war in Japan. Born primarily in the late 60s through late 70s, their work is the product of growing up during the textbook debates and the particular historical understandings that debates over war-memory imparted on their generation. I advance new connections between contemporary symbols and their origins in the sublimation of war and postwar memory and the ways in which the visual legacy of World War II affected this generation. I posit two ways in which a rereading of contemporary art challenges dominant modes of understanding Japan: first in offering an alternative to Murakami Takashi's flattening of Japanese society and cultural production; and second in demonstrating a more complex understanding of war memory and accountability. Works which are cute, manga- and anime-like or robotic can be evaluated for how they are critical of Japan's past and/or present. I argue that we should consider the complex visual constructions of the artworks discussed for the ways in which they critique Japanese society and the "problem" of history/memory---a problem not distinct from Japan's defeat or of Western cultural imperialism, but with its own productive possibilities. Rather than questioning if Japan was or was not a victim or aggressor, these works consider how such disparate understandings can coexist, compete and erupt at different moments and in various manifestations. By illuminating the way in which artists create a new dialogue of history, accountability and the social consciousness, this dissertation provides a clearer understanding of what contemporary Japanese art is communicating to its viewers, both domestically and throughout East Asia.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355531282Subjects--Topical Terms:

810327
Asian history.
Index Terms--Genre/Form:

554714
Electronic books.

Reassembling Symbolic Japan : = Contemporary Painting, Politics and the Negotiation of War Memory.
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520 $a This dissertation examines the work of twelve living and producing Japanese artists, including Aida Makoto, Ikeda Manabu, Yamaguchi Akira and others. I argue that the works can be read as productive critical engagements with the problem of memory and war in Japan. Born primarily in the late 60s through late 70s, their work is the product of growing up during the textbook debates and the particular historical understandings that debates over war-memory imparted on their generation. I advance new connections between contemporary symbols and their origins in the sublimation of war and postwar memory and the ways in which the visual legacy of World War II affected this generation. I posit two ways in which a rereading of contemporary art challenges dominant modes of understanding Japan: first in offering an alternative to Murakami Takashi's flattening of Japanese society and cultural production; and second in demonstrating a more complex understanding of war memory and accountability. Works which are cute, manga- and anime-like or robotic can be evaluated for how they are critical of Japan's past and/or present. I argue that we should consider the complex visual constructions of the artworks discussed for the ways in which they critique Japanese society and the "problem" of history/memory---a problem not distinct from Japan's defeat or of Western cultural imperialism, but with its own productive possibilities. Rather than questioning if Japan was or was not a victim or aggressor, these works consider how such disparate understandings can coexist, compete and erupt at different moments and in various manifestations. By illuminating the way in which artists create a new dialogue of history, accountability and the social consciousness, this dissertation provides a clearer understanding of what contemporary Japanese art is communicating to its viewers, both domestically and throughout East Asia.
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