asc:from-new-world-to-world-power

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asc:from-new-world-to-world-power [2020/08/04 07:41]
dunbar [Superman, WWII, and Japanese Americans - 超人、二战与日裔美国人] 		asc:from-new-world-to-world-power [2021/01/02 07:03] (当前版本)
dunbar
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 ====== From “New World” to world power - 从“新世界”到世界列强 ====== ====== From “New World” to world power - 从“新世界”到世界列强 ======
  
-//Written by by Dr. Bryan Zygmont//\\ //Edited and translated by Troy Liu//\\ //August 4, 2020//+//Written by Dr. Bryan Zygmont//
  
-<span lo>This essay is reprinted from [[https://www.khanacademy.org/ | Khan Academy]] (English), a nonprofit online learning platform.\\ 本篇论文转载自[[https://zh.khanacademy.org/ | 可汗学院]]（中文），一个非盈利的在线教学网站。</span>+//Edited and translated by Troy Liu//\\ //August 4, 2020// 
 + 
 +<span lo>This essay is reprinted from [[https://www.khanacademy.org/ | Khan Academy]] (English), a nonprofit online learning platform. Abridged.\\ 本篇论文转载自[[https://zh.khanacademy.org/ | 可汗学院]]（中文），一个非盈利的在线教学网站。有删改。</span>
  
 ==== Introduction - 引言 ==== ==== Introduction - 引言 ====
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 <div half column> <div half column>
-当然，许多人已经呼吁美国参加反对同盟国的战争好几个月，甚至好几年了。一些艺术家（如乔治·贝洛斯（George Bellows）只是其中的一位）抓起它们的画笔、钢笔和錾刀，再次声明美国于1917年加入盟国的决定。贝洛斯曾师从纽约州立大学的罗伯特·亨利，并在二十世纪第一个十年末作为垃圾箱画派[(#3)]的成员而声名鹊起。。+当然，许多人已经呼吁美国参加反对同盟国的战争好几个月，甚至好几年了。一些艺术家（如乔治·贝洛斯（George Bellows）只是其中的一位）抓起它们的画笔、钢笔和錾刀，再次声明美国于1917年加入盟国的决定。贝洛斯曾师从纽约州立大学的罗伯特·亨利，并在二十世纪第一个十年末作为垃圾箱画派[(#3)]的成员而声名鹊起。尽管名气很大，但贝洛斯还是在1917年自愿加入了战争的行列，当时我们得知了“指控德国暴行委员会的报告”——俗称“布莱斯报告”。在这份报告中，前英国驻美国大使詹姆斯-布莱斯记录了德军的放荡行为。部分事实，但带有浓厚的宣传和误导，正是布莱斯报告在美国的发布，与卢西塔尼亚号的沉没一样，最终使美国卷入了第一次世界大战。 
 </div> </div>
 </div> </div>
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 {{ :asc:japanese-americans-boarding-train-bound-for-internment-camp.jpg?600 | Japanese Americans boarding train bound for internment camp}} {{ :asc:japanese-americans-boarding-train-bound-for-internment-camp.jpg?600 | Japanese Americans boarding train bound for internment camp}}
  
-<span lo>Russell Lee, Japanese Americans boarding train bound for internment camp, Santa Fe station, Los Angeles, CA\\ Library of Congress</span>+<span lo>Russell Lee, Japanese Americans boarding train bound for internment camp, Santa Fe station, Los Angeles, CA\\ 日裔美国人正被送往集中营\\ Library of Congress</span>
  
 <div group> <div group>
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 ==== Superman, WWII, and Japanese Americans - 超人、二战与日裔美国人 ==== ==== Superman, WWII, and Japanese Americans - 超人、二战与日裔美国人 ====
  
 +<div group>
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 +Given the trauma this period of history caused to an entire group of American citizens, it is not surprising it has gathered the attention of visual artists. Roger Shimomura was born in Seattle in 1939, the year World War II began and two years before the bombing of Pearl Harbor. Both of his parents were born in the United States, yet despite this fact, the Shimomura family was relocated to the Minidoka concentration camp in Idaho where they remained for about two years. Although he was but a young child at the time, these events had a profound effect upon his future art.
 +</div>
 +
 +<div half column>
 鉴于这段历史给整个美国公民群体带来的创伤，它聚集了视觉艺术家的关注也就不足为奇了。罗杰·岛村1939年出生在西雅图，那一年二战开始，比珍珠港被炸的时间早两年。他的父母都出生在美国，然而尽管如此，岛村一家还是被迁往爱达荷州的米尼多卡集中营，在那里呆了大约两年。虽然当时他还是个孩子，但这些事件对他未来的艺术产生了深远的影响。 鉴于这段历史给整个美国公民群体带来的创伤，它聚集了视觉艺术家的关注也就不足为奇了。罗杰·岛村1939年出生在西雅图，那一年二战开始，比珍珠港被炸的时间早两年。他的父母都出生在美国，然而尽管如此，岛村一家还是被迁往爱达荷州的米尼多卡集中营，在那里呆了大约两年。虽然当时他还是个孩子，但这些事件对他未来的艺术产生了深远的影响。
 +</div>
 +</div>
  
 {{ :asc:diary-december-12-1941.jpg?600 | Diary: December 12, 1941}} {{ :asc:diary-december-12-1941.jpg?600 | Diary: December 12, 1941}}
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 </div> </div>
  
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 +Thus, while we can presume that the young woman in the painting is Shimomura’s grandmother, she sits in a traditional Japanese home (despite the fact that she immigrated to the United States in the early twentieth century). She wears a kimono and sits upon a tatami mat, while her diary and ink brush rest on the desk before her. She is surrounded by rice-paper screens; one partially obscures her left side while the screen left of center shows the silhouette of a standing male figure. His hands are seemingly placed upon his hips, and there seems to be a cape that flutters in a strong breeze. It becomes clear, then, that this is not just any man. It is Superman.
 +</div>
 +
 +<div half column>
 +因此，虽然我们可以推测画中的年轻女子是岛村的祖母，但她坐在一个传统的日本家庭中（尽管她是在20世纪初移民到美国的）。她穿着和服，坐在榻榻米上，面前的桌子上放着她的日记本和毛笔。她被米纸屏风包围着，其中一个屏风部分遮住了她的左侧，而中间左边的屏风则是一个站立的男性人物的轮廓。他的双手似乎放在臀部，似乎有一件披风，在强风中飘动。很明显，这不是普通的男人。他是超人。
 +</div>
 +</div>
 +
 +{{ :asc:superman-no-17.jpg?400 | Superman No. 17 (July-August 1942)}}
 +
 +<span lo>Superman No. 17 (July-August 1942) with racist caricatures of Adolf Hitler and Emperor Hirohito\\ 第17期超人漫画（出版于1942年七至八月），封面中的超人抓着种族主义者们：阿道夫·希特勒与裕仁天皇</span>
 +
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 +There are at least two ways to interpret this depiction of the silhouetted Superman. The first is that of a kind of protector. Since his debut in Action Comics #1 in June 1938, the Man of Steel was made famous for protecting the innocent, defeating the bad guys, and promoting “Truth, Justice, and the American Way.” But in the early 1940s, the covers of the Superman comic books made it clear that the enemy of Superman (and by association, the United States) was not just Lex Luthor (who first appeared in April 1940), but also the Axis Powers. For example, on the cover of Superman No. 17 (July-August 1942), Superman triumphantly stands, clinching a caricature of Adolph Hitler in his right hand and a caricature of Emperor Hirohito of Japan in his left. In the following issue (September-October 1942) Superman rides a red torpedo and the text reads, “War savings bonds and stamps do the job on the Japanazis!” The cover from the issue dated January 1944 (Superman #26) shows Superman about to ring the Liberty Bell with the head of a German soldier who wears a swastika armband.
 +</div>
 +
 +<div half column>
 +至少有两种方式来解释这种对超人剪影的描述。第一种是一种保护者的形象。自1938年6月在《动作漫画》第1期中首次亮相以来，“钢铁之躯”就以保护无辜、打败坏人、宣传”真理、正义和美国之道”而闻名。但在20世纪40年代初，超人漫画书的封面明确指出，超人的敌人（也包括美国）不仅仅是莱克斯·卢瑟（1940年4月首次出现），还有轴心国。例如，在《超人》第17期（1942年7-8月）的封面上，超人胜利地站在那里，右手夹着一幅阿道夫·希特勒，左手夹着日本裕仁天皇。在接下来的一期（1942年9月至10月）中，超人骑着红色的鱼雷，文字内容是：“战争储蓄债券和邮票在日本鬼子身上做文章！”。1944年1月号（《超人》第26期）的封面上，超人即将用一个戴着纳粹臂章的德国士兵的头颅敲响自由钟。
 +</div>
 +</div>
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 +It is clear, then, that Superman protects the United States from all enemies, both domestic and foreign. And given the the distrust of the United States government toward Japanese Americans, it is seems easy to recognize that the Superman in Shimomura’s painting is not here to protect the seated young woman; he is there to both menace and survey her. Her posture—she sits with her right hand supporting her head—suggests a kind of dreamlike state, and a lack of awareness of the powerful, shadowed figure who appears ready to read the intimate thoughts she is set to write in her diary. In doing so, Shimomura suggests Superman (and, by proxy, the United States government) believed that his grandmother was threat, a possible extension of Hitler, Hirohito, and the “Japanazis” around the world.
 +</div>
 +
 +<div half column>
 +很明显，超人是保护美国不受国内和国外一切敌人的伤害，而考虑到美国政府对日裔美国人的不信任，似乎很容易认识到：岛村画中的超人并不是来保护这个坐着的年轻女人的，他是来威胁和打量她的。她的姿势——她坐在那里，右手托着头——暗示着一种梦境，以及对这个强大的、影子般的人物缺乏认识，而这个人物似乎准备阅读她准备写在日记里的私密想法。岛村以此暗示超人（以及，美国政府）认为他的祖母是威胁，可能是希特勒、裕仁和世界各地的“日本人”的延伸。
 +</div>
 +</div>
 +
 +=== Video: Superman, World War II, and Japanese-American experience (Roger Shimomura, Diary: December 12, 1941) ===
 +
 +<html>
 +<iframe src="//player.bilibili.com/player.html?aid=414103107&bvid=BV1zV411z73w&cid=220316980&page=1&danmaku=0" scrolling="no" border="0" frameborder="no" framespacing="0" allowfullscreen="true" width="100%" height=600 sandbox="allow-top-navigation allow-same-origin allow-forms allow-scripts"> </iframe>
 +</html>
 +
 +A conversation with Dr. Sarah Newman, James Dicke Curator of Contemporary Art, Smithsonian American Art Museum, and Dr. Beth Harris.
 +
 +This Seeing America video was made possible by a generous grant from the Terra Foundation and the Alice L. Walton Foundation.
 +
 +Origin: {{:site:video.png?nolink&20|}} [[https://youtu.be/JClnwHaiwiE]]
 +
 +==== Oil, Gulf War, and Creating Coalitions - 石油、海湾战争与建立联盟 ====
 +
 +<div group>
 +<div half column>
 +The United States had been a reluctant entrant into the two World Wars of the twentieth century. By the end of that century, however, the position that the United States held in world affairs had dramatically changed. The nation had become both politically proactive and reactive. An excellent example is when the United States swiftly responded to the Iraqi invasion of Kuwait on 2 August 1990. This Iraqi military action did not directly involve American military or civilian interests (aside from the worldwide repercussions to the oil market). Yet, the United States—in conjunction with a United Nations coalition that involved more than thirty other countries—led a military operation to remove Iraqi forces from Kuwait and restore their sovereignty. In less than a century, the United States had transitioned from hesitantly joining coalitions to creating them.
 +</div>
 +
 +<div half column>
 +美国一直是一个不情愿参加二十世纪两次世界大战的国家。然而，到该世纪末，美国在世界事务中的地位发生了巨大变化。这个国家在政治上变得既主动又被动。一个很好的例子是，1990年8月2日，美国对伊拉克入侵科威特作出了迅速反应。伊拉克的这一军事行动并没有直接涉及美国的军事或民用利益（除了对石油市场的世界性影响外）。然而，美国与其他三十多个国家参与的联合国联盟一起，领导了一次将伊拉克军队赶出科威特并恢复其主权的军事行动。在不到一个世纪的时间里，美国从犹豫不决地加入联盟过渡到创建联盟。
 +</div>
 +</div>
 +
 +<div group>
 +<div half column>
 +From the American perspective, the Gulf War consisted of two distinct phases. The first, Operation Desert Shield (2 August 1990 – 17 January 1991), involved the buildup of American and coalition forces in the Persian Gulf area. In the midst of this—on 29 November 1990—the United Nations Security Council passed Resolution 678. This mandated that Iraqi leader Saddam Hussein withdraw all troops from Kuwait by the deadline of 15 January 1991. When that deadline came and passed, the second phase—Operation Desert Storm—commenced on 17 January. The early weeks of this conflict involved attacks from coalition naval and air forces. After more than a month of such conflict, a large-scale (but brief) ground assault began on 24 February. The conflict came to an end on 28 February.
 +</div>
 +
 +<div half column>
 +从美国的角度来看，海湾战争由两个不同的阶段组成。第一个阶段是“沙漠盾牌行动”（1990年8月2日至1991年1月17日），涉及美国和联军在波斯湾地区的集结。在这中间，1990年11月29日，联合国安全理事会通过了第678号决议。该决议要求伊拉克领导人萨达姆·侯赛因在1991年1月15日这一最后期限之前从科威特撤出所有军队。当这一最后期限到来并过去后，第二阶段的“沙漠风暴行动”于1月17日开始。在这场冲突的最初几个星期里，联军的海军和空军发动了攻击。经过一个多月的冲突，2月24日开始了大规模（但时间很短）的地面攻击。冲突于2月28日结束。
 +</div>
 +</div>
 +
 +<div group>
 +<div half column>
 +Yet months before—beginning in December 1990—Iraqi military forces had begun to place explosive charges on hundreds of Kuwaiti oil wells, understanding, that motives on both sides of the conflict had little to do with the sovereignty of Kuwait, but rather it’s oil. In the days leading up to the Security Council mandated withdraw date, the Iraqis began to sabotage these oil wells. The oil fires hit an apex in the days surrounding the ground assault, as the Iraqi military implemented a scorched earth policy during their retreat from Kuwait. In total, between 600 and 700 oil wells were set ablaze. The last one was not capped until November.
 +</div>
 +
 +<div half column>
 +然而，几个月前——从1990年12月开始——伊拉克军队就开始在数百口科威特油井上放置炸药。他们明白，冲突双方的动机与科威特的主权无关，而是与石油有关。在安全理事会规定的撤军日期之前的几天，伊拉克人开始破坏这些油井。石油大火在地面攻击的几天里达到了顶点，因为伊拉克军队在从科威特撤退的过程中实施了焦土政策。总共有600至700口油井被烧毁。最后一口油井直到11月才封顶。
 +</div>
 +</div>
 +
 +=== Oil in the Middle East - 中东的石油 ===
 +
 +{{ :asc:sebastiao-salgado.jpg?400 | Kuwaiti oil wells}}
 +
 +<span lo>Sebastião Salgado, Kuwait, 1991, gelatin silver print, 45.24 × 30.1 cm\\ Los Angeles County Museum of Art, gift of Gary Sato, AC1998.162.1\\ ©Sebastião Salgado</span>
 +
 +<div group>
 +<div half column>
 +Clearly, this was one of the greatest environmental tragedies of human history, and it gathered the attention of Sebastiao Salgado, a Brazilian photographer who was in Iraq documenting this disaster. The black-and white photograph //Kuwait// (1991) shows the repercussions of this environmental catastrophe. It is a strongly vertical composition; a man stands to the left of center, reaching up to a hanging element. Just to the right of center is the wellhead itself, and it forcefully shoots jet-black oil beyond the frame of the photograph. Three other men who are knee-deep in oil join that standing figure, and each has been so soaked in the viscous liquid that they appear to be bronze statues, frozen in time. The high value of the whites and grays in the foreground also reinforce that the earth has been thoroughly soaked, while gazing to the horizon line, we can see no less than three wells on fire. This very scene is likely happening at other places. Clearly, this photography documents an environmental catastrophe. But it also murmurs about the American involvement in a foreign skirmish and our increased role on the world stage.
 +</div>
 +
 +<div half column>
 +显然，这个人类历史上最大的环境悲剧之一，引起了在伊拉克记录这场灾难的巴西摄影师塞巴斯蒂奥·萨尔加多的注意。黑白照片《科威特》（1991年）展现了这场环境灾难的影响。这是一个强烈的垂直构图：一个男人站在中间的左边，伸手去够一个悬挂的东西。在中心的右边是井口本身，它有力地将喷黑的油射出照片的框架之外。另外三个被油浸泡到膝盖深的男人也加入了那个站立的身影，他们每个人都已经被粘稠的液体浸泡，仿佛是铜像，凝固在时间里。前景中的高明度的白色和灰色也强调了了大地已经被石油彻底浸泡。向地平线望去，我们可以看到不少于三口井在燃烧。这一幕很可能发生在其他地方。显然，这张照片记录了一场环境灾难。但是，它也在喃喃自语着美国人卷入一场对外战争，以及美国人在世界舞台上的变得越来越显眼。
 +</div>
 +</div>
 +
 +==== Conclusion - 结论 ====
 +
 +<div group>
 +<div half column>
 +The history of the United States—and of the American colonies before it—is a complicated story. From humble beginnings as the overseas possessions of foreign countries through numerous transitions leading to the United States being one of the true superpowers and a geopolitical leader. In between these endpoints was change, and growth. The United States of today is not the United States of a century ago, and though it is difficult to predict the future, it is easy to imagine that the United States of the future will be different again. Whatever it is that American will be in the future, it is likely that artists will chronicle and comment on those changes. In doing so, they will continue to shed light on the United States and its people.
 +</div>
 +
 +<div half column>
 +美国及其之前的殖民地的历史是一个复杂的故事。从作为外国的海外属地、卑微的开始，经过无数的转变，到美国成为一个真正的超级大国和地缘政治领导者。在这些端点之间是变化和增长。今日美国已不是一个世纪前的美国，虽然很难预测未来，但很容易想象未来的美国将再次不同。不管美国未来会变成什么样子，艺术家们很可能会对这些变化进行编年史和评论。在这样做的同时，他们将继续让人们了解美国及其人民。
 +</div>
 +</div>
 +
 +==== Words - 词汇 ====
 +
 +==== Extended reading - 衍生阅读 ====
 +  * Documentary: The Gulf War - 纪录片：海湾战争\\ Made by {{:asc:pbs.png?nolink&50|PBS logo}}
 +    * [[https://www.bilibili.com/video/BV1Ks411Y7Bw | 上集]]（字幕） 时长：116:42
 +    * [[https://www.bilibili.com/video/BV1ts411b7wi | 下集]]（字幕） 时长：116:42
  • asc/from-new-world-to-world-power.1596526879
  • 最后更改: 2020/08/04 07:41
  • 由 dunbar