はじめに

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1 Title Author(s) 富山妙子の表現と 1970 年代の韓国 : 詩画集深夜とスライドしばられた手の祈りを中心に徐, 潤雅 Citation 待兼山論叢. 日本学篇. 50 P.49-P.76 Issue Date Text Version publisher URL DOI rights

2 はじめに

3 Hein and Jennison

4 韓国との出会い 1)1970 年韓国訪問のきっかけ

6 ) 金芝河救援運動のはじまり

7 ! cinii books

8 시를쓰되좀스럽게쓰지말고똑이렇게쓰럇다

9 56 1 3) 韓国に対するまなざしの変化 DK

10 韓国はどう描かれたか 1) 詩画集とスライドに使われたリトグラフの特徴

13 60 2) 民衆と権力者 I

14 ) リトグラフという選択

15 メディア芸術の誕生詩画集とスライド 1) 詩画集深夜 cm 37cm

16 ) スライドしばられた手の祈りと協力者たち 14 20

18 詩画集深夜金芝河富山妙子詩画集形態構成制作年月言語発行制作協同制作者スライドしばられた手の祈り 1974 年韓国で形態構成 35mm 製作年月言語 mm 発行制作協同制作者

19 PARC PARC おわりに

21 p NCC

24 Laura Hein and Rebecca Jennison, Imagination without Borders: Feminist Artist Tomiyama Taeko and Social Responsibility, 2010 Postcolonial Feminist Locations: The Art of Tomiyama Taeko and Shimada Yoshiko, U.S.-Japan Women s Journal, No.12, 1996,

25 : Silenced by History: Tomiyama Taeko s Work 김동춘 박근혜정권의 국정원정치 : 구조적파시즘 하에서의국가주의의재등장 경제와사회 2015 김효순 조국이버린사람들 : 재일동포유학생간첩사건의기록 김미정 1960년대민족 민중문화운동과오윤의미술 미술사논단 김진하 오윤의출판미술목판화 : 비애와박진감을아우르는신명의세계 근대서지 하상일 재일디아스포라시인강순연구 한국문학논총 ( 허문명 오적 재벌, 국회의원, 고급공무원, 장성, 장차관 동아일보 ) 민주화운동기념사업회오픈아카이브 1970년대필화사건 국제앰네스티한국지부홈페이지 국제앰네스티한국지부의역사

29 76 SUMMARY TOMIYAMA Taeko s Art Expression and South Korea in the 1970s: A Discussion on Deep Night and Chained Hands in Prayer Yuna Seo Tomiyama Taeko is a Japanese woman artist, who illustrates political situations and political prisoners of South Korea through lithographs. This paper explains why and how Tomiyama depicts South Korea, and also explores how she displays her works. This paper particularly focuses on the works with a theme of political prisoners in South Korea, and the changes of ways of expression around 1975, by discussing process and meanings of the changes. In the first chapter, I attempt to explain why Tomiyama adopts South Korea in her works, with the reference of written sources and interviews. As a Japanese intellectual during the Cold War era, Tomiyama adopts the political situations of South Korea, by relating it to her own history. Nevertheless, her interests are not limited to South Korea, but also include Greek mythology and Chinese Revolution of Yanan in the 1930s. In the second chapter, I analyze what kinds of images Tomiyama adopts to visualize South Korea. I show that Tomiyama uses the same images in her works of the slides and poems in the 1970s. Those images used in Greek mythology are also used to depict the political prisoners of South Korea. In particular, I argue that through the metaphors of Greek mythology and Western arts, Tomiyama advocates the rescue of political prisoners in South Korea, based on the universal values of human rights. In the third chapter, I present how Tomiyama displays her works with the consideration of her co-producers. Cooperating with citizen groups and other organizations, Tomiyama has to change the ways of expression and puts on exhibitions with them. However, this helps her reach a larger audience compared to the times when she showcases her works in her own gallery.

41 1. 初めに ) The National Theatre of the Deaf 1980

41 1. 初めに ) The National Theatre of the Deaf 1980 Title Author(s) 手話演劇の様相 : 車座の実践と岸田理生の戯曲を通して岡田, 蕗子 Citation 待兼山論叢. 美学篇. 48 P.41-P.66 Issue Date 2014-12-25 Text Version publisher URL http://hdl.handle.net/11094/56608 DOI rights 41 1. 初めに 1946 2003 1984