دانلود کتاب Mirroring the Japanese Empire: The Male Figure in Yōga Painting, 1930-1950 (Japanese Visual Culture)

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Mirroring the Japanese Empire\nContents\nAcknowledgements\n1 INTRODUCTION\n Framing Japanese “War Art”\n New Studies on “War Art” after the 1990s\n The Male Figure in Yōga\n The “Men’s World” of Yōga in the 1930s\n Chapter Organization\n2 “JAPANESE” MEN ON DISPLAY: FUJITA TSUGUHARU’S CAMPAIGN-RECORD PAINTINGS\n Introduction\n A “Japanese” Artist in Bohemian Paris\n Fujita’s Return to Imperial Japan\n Campaign-Record Painting as Battle for Yōga Artists\n Representation of the Japanese Male Body\n Fujita’s Deathly Battle Pictures in the Last Phase of the Japanese Empire\n In/Visibility of the Racial and Sexual “Other”\n Conclusion\n3 MODERN PORTRAITURE AS THE SITE OF BATTLE: YASUI SŌTARŌ’S MALE PORTRAITS AND THE SHIRAKABA SCHOOL\n Introduction\n Yasui’s “Atypical” Male Portraiture in the 1930s and 40s\n Kojima Kikuo: Art Historian, Critic, and Arts Administrator\n Kojima’s Evaluation of Yasui’s Portraiture\n Yasui as an Artist of Male Portraits\n Negotiation and Formulation of Male Alliance through Portraiture\n Conclusion\n4 ARTISTS AS MADMEN: YAMASHITA KIYOSHI AND MATSUMOTO SHUNSUKE’S “DISABLED” BODIES\n Introduction\n Yamashita Kiyoshi and Wartime Society\n The Discourse of “Insanity” and Art in Prewar Japan\n Art and “Health” Policy in the 1930s\n “The Living Painter”: Matsumoto Shunsuke\n Matsumoto Shunsuke’s Resistance to“Abnormality” in Militant Japan\n Matsumoto’s Bodily Representation of “Health” and “Manhood”\n Conclusion\n5 CONCLUSION: MALE ICONS OF JAPAN’S “LONG POSTWAR”\n The Persistence of Modernity: Yasui Sōtarō\n The Resurrection of Wartime Memory: Yamashita Kiyoshi\n The Reconciliation with the Past: Fujita Tsuguharu\n The “Discovery” of the Lone Protester: Matsumoto Shunsuke\nEndnotes\nSelected Bibliography\nIllustration Credits\nIndex