JICPASでは、日本人と日本文化の国際的分析の場として英文誌「Review of Japanese Culture and Society」を制作しています。本誌は、日本の文化や社会についての国際認識を高めることを意図して制作され、相互理解の促進と文化論の方法の見直しをめざしています。

Introduction

Commensurable Distinctions: Intercultural Negotiations of Modern and Contemporary
Japanese Visual Culture

Bert Winther-Tamaki and Kenichi Yoshida

Intersectionality

Six Episodes of Convergence Between Indian, Japanese,
and Mexican Art from the Late Nineteenth Century to the Present

Bert Winther-Tamaki

Picasso as Other―Koyama Fujio and the Polemics of Postwar Japanese Ceramics

Yasuko Tsuchikane

Pictures of Beautiful Women: A Modern Japanese Genre and Its Counterparts in Europe,
China, Korea, and Vietnam

Kojima Kaoru

Realpolitik

A “Pirates’ View” of Art History

Inaga Shigemi

From The Sea Beyond: Hōsui, Seiki, Tenshin and the West Sea of Hybridization:
In Dispute over Urashima (translated by Christina M. Spiker)

Takashina Erika

From The Representation of “Japan” in Wartime World’s Fairs
Modernists and “Japaneseness”
(translated by Aoki Fujio, Jessica Jordan, and Paul W. Ricketts)

Yamamoto Sae

Resources, Scale and Recognition in Japanese Contemporary Art:
“Tokyo Pop” and the Struggle for a Page in Art History

Adrian Favell

Driftworks

Four Projects

Ozawa Tsuyoshi

From The Sideshow Called Fine Art (translated by Michael P. Cronin)

Kinoshita Naoyuki

Reality Within and Without: Surrealism in Japan and China in the Early 1930s

Chinghsin Wu

Fukuhara Shinzō and the “Japanese” Pictorial Aesthetic

Karen M. Fraser

Abstraction

From Temple of the Eye: Notes on the Reception of “Fine Art”
(translated by Kenneth Masaki Shima)

Kitazawa Noriaki

From Van Gogh as Intellectual History: The Reception of Reproductions and Imagination
(translated by Kevin Singleton)

Kinoshita Nagahiro

Minor Transnational Inter-Subjectivity in the People’s Art of Kitagawa Tamiji

Yuko Kikuchi

The Imagined Map of the Nation: Postwar Japan from 1945 to 1970

Hayashi Michio

Sedimentation

A Place to Bury Names, or Resurrection (Circulation and Continuity of Energy) as a Dissolution of Identity: Isamu Noguchi’s Memorial to the Dead of Hiroshima and Shirai Sei’ichi’s Temple Atomic Catastrophes

Okazaki Kenjirō

Deactivating the Future: Sawaragi Noi’s Polemical Recoil from Contemporary Art

Kenichi Yoshida

From Art and Identity: For Whom, For What?
The “Present” Upon the “Contemporary” (translated by Sarah Allen)

Satō Dōshin

Art in Focus

in memoriam On Kawara

Reiko Tomii, Section Editor

 

On the Contributors