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Ambiguous Gazes: an Indigenous Portrait Triptych of 1912
https://chuo-u.repo.nii.ac.jp/records/7845
https://chuo-u.repo.nii.ac.jp/records/78450346e1be-d82a-4bb0-ab7f-d88adfd6618e
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
本文を見る (2.7 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||
|---|---|---|---|---|---|---|---|---|
| 公開日 | 2016-09-28 | |||||||
| タイトル | ||||||||
| タイトル | Ambiguous Gazes: an Indigenous Portrait Triptych of 1912 | |||||||
| 言語 | en | |||||||
| 言語 | ||||||||
| 言語 | eng | |||||||
| キーワード | ||||||||
| 主題Scheme | Other | |||||||
| 主題 | 先住民 | |||||||
| キーワード | ||||||||
| 主題Scheme | Other | |||||||
| 主題 | 肖像写真 | |||||||
| キーワード | ||||||||
| 主題Scheme | Other | |||||||
| 主題 | 帝国 | |||||||
| キーワード | ||||||||
| 主題Scheme | Other | |||||||
| 主題 | 植民地 | |||||||
| キーワード | ||||||||
| 主題Scheme | Other | |||||||
| 主題 | 視線 | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | Indigenous | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | Portrait | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | Photograph | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | Empire | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | Colonialism | |||||||
| キーワード | ||||||||
| 言語 | en | |||||||
| 主題Scheme | Other | |||||||
| 主題 | Gaze | |||||||
| 資源タイプ | ||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||
| 資源タイプ | departmental bulletin paper | |||||||
| その他(別言語等)のタイトル | ||||||||
| その他のタイトル | 曖昧な視線―1912年の先住民肖像写真トリプティク― | |||||||
| 著者 |
NAKAO, Hidehiro
× NAKAO, Hidehiro
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| 著者別名 | ||||||||
| 識別子Scheme | WEKO | |||||||
| 識別子 | 32258 | |||||||
| 姓名 | 中尾, 秀博 | |||||||
| 抄録 | ||||||||
| 内容記述タイプ | Abstract | |||||||
| 内容記述 | This paper deals with the ambiguity of the gazes concerning the three portrait photographs shot in 1912: a picture of three Ainu children at Ueno colonial exposition (JPN), a picture of an native American cowboy of Okanogan, Washington (USA), and a picture of an aboriginal man of Northern Territory (AUS). Each one of the photographs offers its own characteristics comprised of chance and inevitability, behind which lie the social and historical backgrounds of its time and place. In order to grasp the meanings of apparent similarities and differences amongst these three as well as their individual characteristics, I would like to elaborate on the ambiguity of the gazes. The ambiguity emerges in the boundary areas. What makes the ambiguity of these photographs multiple-layered would be the gazes of three different origins: the gaze of the photographer, the gaze of the subject, and the gaze of the spectators. The spectators may be further categorized as the spectators of the past and of the present, and the spectators of the photographer’s side and of the subject’s side. To illustrate the imperial schemes operating under each government I would like to take into consideration the followings: the Emperor’s signature and seal (JPN), the seal of the Bureau of Indian Affairs (USA), and the Royal medal of the then King George V (AUS). It is rather easy for us to notice that what we have been looking at overlaps with what Hannah Arendt argues in The Origins of Totalitarianism. It may sounds paradoxical, but the indigenous triptych of 1912 reflects the End of the Human Rights after 1914. This is the reason why the ambiguous gaze of each figure in this triptych of photographs still makes us somewhat uneasy. |
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| 書誌情報 |
中央大学社会科学研究所年報 巻 18, p. 73-85, 発行日 2014-08-30 |
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| 出版者 | ||||||||
| 出版者 | 中央大学社会科学研究所 | |||||||
| ISSN | ||||||||
| 収録物識別子タイプ | ISSN | |||||||
| 収録物識別子 | 1343-2125 | |||||||
| 権利 | ||||||||
| 権利情報 | この資料の著作権は、資料の著作者または学校法人中央大学に帰属します。著作権法が定める私的利用・引用を超える使用を希望される場合には、掲載誌発行部局へお問い合わせください。 | |||||||
| フォーマット | ||||||||
| 内容記述タイプ | Other | |||||||
| 内容記述 | application/pdf | |||||||
| 著者版フラグ | ||||||||
| 出版タイプ | VoR | |||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||
