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dc.contributor.advisor Weisenfeld, Gennifer en_US
dc.contributor.author Adriasola, Ignacio en_US
dc.date.accessioned 2011-05-20T19:36:18Z
dc.date.available 2013-05-08T04:30:06Z
dc.date.issued 2011 en_US
dc.identifier.uri http://hdl.handle.net/10161/3892
dc.description Dissertation en_US
dc.description.abstract <p>This dissertation examines the intersection of experimental art, literature, performance, photography, and architecture, as Japanese artists and intellectuals grappled with political disillusionment after the end of the protests against the ratification of the U.S.-Japan Security Treaty of 1960. I focus on the work of the sculptors Miki Tomio and Kudo Tetsumi; photographs of late 1960s protests by Tomatsu Shomei and the self-portraits of the novelist Mishima Yukio; the collaboration between photographer Hosoe Eikoh and butoh dance founder Hijikata Tatsumi in the photo album <italic>Kamaitachi</italic> (The Sickle-Weasel, 1969); and depictions of the urban periphery in Hosoe's unfinished <italic>Private Landscape</italic> series (1970-) and the visionary urban planning of the architect Tange Kenzo. All shared an interest in portraying peripheral spaces, the detritus of the everyday, and the sexually perverse, cultivating a rhetoric of marginality that allowed them to explore their ambivalent feelings towards post-Anpo Japan.</p> en_US
dc.subject Art History en_US
dc.subject Asian Studies en_US
dc.subject Women's Studies en_US
dc.subject Anpo protests en_US
dc.subject experimental art en_US
dc.subject Japan en_US
dc.subject masculinity en_US
dc.subject performance en_US
dc.subject photography en_US
dc.title Melancholy Sites: The Affective Politics of Marginality in Post-Anpo Japan (1960-1970) en_US
dc.type Dissertation en_US
dc.department Art, Art History, and Visual Studies en_US
duke.embargo.months 24 en_US

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