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Postgraduate Thesis: Narrating singularity and regionalism: the representation of identity and resistance in Gima Hiroshi's woodblockprints
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TitleNarrating singularity and regionalism: the representation of identity and resistance in Gima Hiroshi's woodblockprints
 
AuthorsLam, Ka-yan
林家欣
 
Issue Date2012
 
PublisherThe University of Hong Kong (Pokfulam, Hong Kong)
 
AbstractThis dissertation gives an aesthetic analysis on the selected woodblock prints of the Okinawan artist Gima Hiroshi concurrent with an exploration of the identity politics of the Okinawans. Deconstructing the historical circumstances of the archipelago, the contradictions and predicaments that the islanders have been struggling with from the trade era and annexation period, to the wartime, the U.S. occupation and the reversion to the Japanese state are portrayed in the war prints. With the constitution of a multi-vocal identity, a regionalist identity has been articulated. This regionalism is manifested in the artist’s prints about traditions, customs and everyday life in terms of folk dance, drum playing, craftsmanship, festivities, daily activities, agriculture, residential space and the practices related to nature. Following a thorough discussion of the visual texts is the elucidation of essentialism in contemporary Okinawan studies that identity politics is itself delimiting and institutionalizing in representation. Essentialist representations reinforce the dichotomy of the self/other structure that they can be more detrimental than explicit performative discourses. As a concluding argument, this essay finishes with a proposed alternative to essentialist literature – visual representations. The interpretative potentiality and transformative powers of art serve as a stepping stone for the third party to experience the experience of the Other, which challenges the presumptions imposed by the self/other narrative. In this process, the marginalized can be made visible.
 
DegreeMaster of Arts
 
SubjectColor prints, Japanese.
Regionalism - Japan.
Identity politics - Japan.
 
Dept/ProgramLiterary and Cultural Studies
 
DC FieldValue
dc.contributor.authorLam, Ka-yan
 
dc.contributor.author林家欣
 
dc.date.hkucongregation2012
 
dc.date.issued2012
 
dc.description.abstractThis dissertation gives an aesthetic analysis on the selected woodblock prints of the Okinawan artist Gima Hiroshi concurrent with an exploration of the identity politics of the Okinawans. Deconstructing the historical circumstances of the archipelago, the contradictions and predicaments that the islanders have been struggling with from the trade era and annexation period, to the wartime, the U.S. occupation and the reversion to the Japanese state are portrayed in the war prints. With the constitution of a multi-vocal identity, a regionalist identity has been articulated. This regionalism is manifested in the artist’s prints about traditions, customs and everyday life in terms of folk dance, drum playing, craftsmanship, festivities, daily activities, agriculture, residential space and the practices related to nature. Following a thorough discussion of the visual texts is the elucidation of essentialism in contemporary Okinawan studies that identity politics is itself delimiting and institutionalizing in representation. Essentialist representations reinforce the dichotomy of the self/other structure that they can be more detrimental than explicit performative discourses. As a concluding argument, this essay finishes with a proposed alternative to essentialist literature – visual representations. The interpretative potentiality and transformative powers of art serve as a stepping stone for the third party to experience the experience of the Other, which challenges the presumptions imposed by the self/other narrative. In this process, the marginalized can be made visible.
 
dc.description.naturepublished_or_final_version
 
dc.description.thesisdisciplineLiterary and Cultural Studies
 
dc.description.thesislevelmaster's
 
dc.description.thesisnameMaster of Arts
 
dc.identifier.hkulb4833467
 
dc.languageeng
 
dc.publisherThe University of Hong Kong (Pokfulam, Hong Kong)
 
dc.relation.ispartofHKU Theses Online (HKUTO)
 
dc.rightsThe author retains all proprietary rights, (such as patent rights) and the right to use in future works.
 
dc.rightsCreative Commons: Attribution 3.0 Hong Kong License
 
dc.source.urihttp://hub.hku.hk/bib/B48334674
 
dc.subject.lcshColor prints, Japanese.
 
dc.subject.lcshRegionalism - Japan.
 
dc.subject.lcshIdentity politics - Japan.
 
dc.titleNarrating singularity and regionalism: the representation of identity and resistance in Gima Hiroshi's woodblockprints
 
dc.typePG_Thesis
 
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<description.abstract>&#65279;This dissertation gives an aesthetic analysis on the selected woodblock prints of the Okinawan artist Gima Hiroshi concurrent with an exploration of the identity politics of the Okinawans. Deconstructing the historical circumstances of the archipelago, the contradictions and predicaments that the islanders have been struggling with from the trade era and annexation period, to the wartime, the U.S. occupation and the reversion to the Japanese state are portrayed in the war prints. With the constitution of a multi-vocal identity, a regionalist identity has been articulated. This regionalism is manifested in the artist&#8217;s prints about traditions, customs and everyday life in terms of folk dance, drum playing, craftsmanship, festivities, daily activities, agriculture, residential space and the practices related to nature. Following a thorough discussion of the visual texts is the elucidation of essentialism in contemporary Okinawan studies that identity politics is itself delimiting and institutionalizing in representation. Essentialist representations reinforce the dichotomy of the self/other structure that they can be more detrimental than explicit performative discourses. As a concluding argument, this essay finishes with a proposed alternative to essentialist literature &#8211; visual representations. The interpretative potentiality and transformative powers of art serve as a stepping stone for the third party to experience the experience of the Other, which challenges the presumptions imposed by the self/other narrative. In this process, the marginalized can be made visible.</description.abstract>
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