서브컬처를 통한 모더니즘 비판 : 아이다 마코토

다국어 초록 (Multilingual Abstract)

This paper examines the Japanese contemporary art’s affinity with subculture by looking into the work of Aida Makoto (1965-), who employs visual and narrative elements drawn from Japanese contemporary subculture in expressing his explicit ‘anti-modern’ or ‘anti-western’ view. The flourishing subculture in contemporary Japanese society could have been resulted from the lack of modernist culture or system. This can be related to the troubling issue of modernity in Japan, which was once the earliest ‘modernized’ nation in Asia, yet totally defeated in WWII. Although the seminar of ‘kindai-no-chokoku (overcoming modernity)’ held in 1942 did not produce any productive discussion on overcoming the west, it served as a theoretical background to justify the Japanese invasionist policy and the eventual fantasy to overcome the West. Upon the forced ending of WWII by the attack of two atomic bombs, however, the issue of modernity in Japan in relation to the west became more complicated. Aida approaches complicated the issue of modernity in Japan by touching on the following four aspects;a hatred of the generalized notion of western modernity, a resistance to Modernism as an artistic style, a cynicism about Japanized Modernist art, and an unresolved relationship between Japan and ‘modernity,’ addressed by ‘kindai-no-chokoku.’ It should be noted that Aida’s adoption of subculture reveals his evasive view avoiding modernist methods. By drawing on Japanese subcultural media such as manga, animation or games, which is largely (science-)fictional, tragi-comic, slapstick or nonsensical, Aida attacks modernism by curtailing its seriousness. Instead of providing a serious criticism of modernism, Aida’s work widens the gap between the historical reality and what is represented. By means of exaggerated and comical attacks, Aida ironically achieves a gradual deconstruction of the authoritarian modern.

목차 (Table of Contents)

• I. 서론
• II. 일본의 근대문제와 포스트모던
• 1. 일본의 근대문제
• 2. 일본의 포스트모던과 서브컬처
• III. 아이다 작품에 표출된 반근대와 서브컬처적 표현
• 1. 아이다의 특수성
• 2. 아이다 작품 속의 반근대와 서브컬처를 인용한 표현의 효과
• (1) 유형별 분석
• (2) 서브컬처의 전쟁표현
• IV. 결론
• 참고 문헌
• Abstract

참고문헌 (Reference)

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4 東浩紀, "貌する象 天皇制" (154) : 48-63, 2008

5 会田誠, "天才でごめんなさい" 森美術館 2012

6 東浩紀, "動物化するポストモダン－オタクから見た日本社会" 講談社 2001

7 松井みどり, "下降からの上昇: 会田誠の ‘反近代’" 65 (65): 88-95, 2013

8 椹木野衣, "ユリイカ" 青土社 87-113, 2001

9 難波功士, "メディアとサブカルチャ" 学文社 (70) : 29-39, 2007

10 廣松涉, "「近代の超克」論" 講談社学術文庫 1989

11 Lyotard, Jean-François, "The Postmodern Condition: A Report on Knowledge" University of Minnesota Press 1984

12 Suter, Rebecca, "The Japanization of Modernity: Murakami Haruki between Japan and the United States" Harvard University Asia Center 2011

13 Gelder, Ken, "Subcultures: Critical Concepts in Media and Cultural Studies" Routledge 2007

14 Huyssen, Andreas, "Of Mice and Mimesis: Reading Spiegelman with Adorno" 81 (81): 65-82, 2000

15 会田誠, "Monument for Nothing" グラフィック社 2007

16 Murakami, Takashi, "Little Boy: The arts of Japan’s exploding subculture" Japan Society 2005