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 2016-12-26 Text Version publisher URL http://hdl.handle.net/11094/70049 DOI rights
49 1970 はじめに 1970 1 30 1 2 1921 68 70 1941 10 1970
50 1948 1950 3 61 5 1917 1979 3 1987 6 29 2014 11 12 2 5 1990 2003 1996 1995 2010 Hein and Jennison 2010 90 1980 1970
1970 51 1970 1975 1 2 3 1. 韓国との出会い 1)1970 年 韓国訪問のきっかけ 1970 11 1943 1943 1972 299 300 2009 140 142 2009 140 9 1971 8 1928 2002 4
52 1971 15 1960 1967 1970 1967 9 1975 90 1967
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56 1 3) 韓国に対するまなざしの変化 1970 11 1971 2DK 1971 104 105 1972 311 312 1983 183 184 2009 152
1970 57 2. 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 1974 1970 32 70 14 57 38 13 15 1974 38 16 4 5 6
58 6 6 1970 1974 7 1975 8 2 1 1971 10 16
1970 59 1973 1904 1973 17 1889 1957 1958 1 1974 1977 9
60 2) 民衆と権力者 10 18 I 1922-23 1937 11 5 11
1970 61 13 5 19 1970 3) リトグラフという選択 1972 332 334 1930 1971 1972 332
62 1960 61 10 62 1902 1989 1960 3. メディア芸術の誕生 詩画集とスライド 1) 詩画集 深夜 13 1976 10 26.5cm 37cm 4 3866.67 3800 3 2 1974 1924
1970 63 1946 1986 2012 2015 2012 739 740 2015 72 2) スライド しばられた手の祈り と協力者たち 14 20
64 76 1996 306 21 1976 2 9 1976 1983 231 2
1970 65 2 詩画集 深夜 金芝河 富山妙子詩画集 形態 構成 制作年月 1976 10 言語 発行 制作 協同制作者 1974 1 スライド しばられた手の祈り 1974 年韓国で 形態 構成 35mm 105 40 製作年月 1977 4 言語 1980 16mm 発行 制作 協同制作者 1974 22
66 70 80 1938 23 2009 101 PARC PARC 1977 7 2014 110 111 115 116 24 1978 15 16 25 おわりに
1970 67 1980 105 1960 70 1965 2009 100 109 1980 104
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72 25 2003 1987 1970 1980 2014 : 1937-20012002 Silenced by History: Tomiyama Taeko s Work1995 2014 김동춘 박근혜정권의 국정원정치 : 구조적파시즘 하에서의국가주의의재등장 경제와사회 2015 김효순 조국이버린사람들 : 재일동포유학생간첩사건의기록 1960 40 2015 6 김미정 1960년대민족 민중문화운동과오윤의미술 미술사논단 6 2012 12 김진하 오윤의출판미술목판화 : 비애와박진감을아우르는신명의세계 근대서지 53 2009 12 하상일 재일디아스포라시인강순연구 한국문학논총 2013 5 17 ( 허문명 오적 재벌, 국회의원, 고급공무원, 장성, 장차관 동아일보 ) 1970 2016 8 31 민주화운동기념사업회오픈아카이브 1970년대필화사건 2016 8 31 국제앰네스티한국지부홈페이지 국제앰네스티한국지부의역사 2016 8 31 2016 8 31
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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.