【摘要】：日本1860年代開(kāi)始接觸歐洲的萬(wàn)國(guó)博覽會(huì),之后在帝國(guó)擴(kuò)張途中,迅速借鑒這一新型的資本主義祭典儀式,大規(guī)模地展示帝國(guó)主義和殖民主義,對(duì)世界特別是東亞進(jìn)行重新編碼,成功地把自己銜接到了18世紀(jì)以來(lái)歐洲擴(kuò)張所形成的全新的視覺(jué)霸權(quán)體制內(nèi)。其間"滿洲國(guó)"就被日本操縱著在不同的博覽會(huì)上呈現(xiàn)出不同的表情,以配合不同時(shí)期的日本殖民統(tǒng)制。吊詭的是,戰(zhàn)后,"滿洲摩登"成為1970年大阪萬(wàn)國(guó)博覽會(huì)的技術(shù)和藝術(shù)靈感的源頭。換言之,"滿洲國(guó)"在某種意義上成了戰(zhàn)后東亞現(xiàn)代化的出發(fā)點(diǎn)。
[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.
【作者單位】： 北京社會(huì)科學(xué)院;
【分類(lèi)號(hào)】：K313
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本文編號(hào)：2471695