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日本博览会的“眼目之教”与帝国视线——兼论“满洲摩登”

发布时间:2019-05-08 06:47
【摘要】:日本1860年代开始接触欧洲的万国博览会,之后在帝国扩张途中,迅速借鉴这一新型的资本主义祭典仪式,大规模地展示帝国主义和殖民主义,对世界特别是东亚进行重新编码,成功地把自己衔接到了18世纪以来欧洲扩张所形成的全新的视觉霸权体制内。其间"满洲国"就被日本操纵着在不同的博览会上呈现出不同的表情,以配合不同时期的日本殖民统制。吊诡的是,战后,"满洲摩登"成为1970年大阪万国博览会的技术和艺术灵感的源头。换言之,"满洲国"在某种意义上成了战后东亚现代化的出发点。
[Abstract]:In the 1860s, Japan began to contact the European Exposition of all Nations, and then, on the way to the expansion of the empire, quickly drew lessons from this new type of capitalist sacrificial ceremony, demonstrated imperialism and colonialism on a large scale, and re-coded the world, especially in East Asia. He succeeded in linking himself to the new system of visual hegemony formed by the expansion of Europe since the 18th century. In the meantime, Manchukuo was manipulated by Japan to show different expressions at different fairs in order to match the Japanese colonial system in different periods. Paradoxically, after the war, Manchurian Modern became the source of technological and artistic inspiration for the 1970 Osaka Universal Exposition. In other words, Manchukuo became the starting point of post-war East Asian modernization in a sense.
【作者单位】: 北京社会科学院;
【分类号】:K313


本文编号:2471695

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