{"title":"Introduction to “City as Landscape” (1970) by Matsuda\n Masao (1933–2020)","authors":"Franz Prichard","doi":"10.1162/artm_a_00284","DOIUrl":null,"url":null,"abstract":"\n This introduction to Masao Matsuda’s essay, “The City as Landscape,” provides an outline of the essay’s role in the emergence of a radical discourse of landscape, known as fūkei-ron in Japan. In addition to illuminating crucial aspects of the political and discursive context of Matsuda’s writings, the introduction orients contemporary readers to this essay’s contributions to an expansion of the global imaginaries and aesthetic genealogies of the radical left.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"1 1","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"ARTMargins","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1162/artm_a_00284","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 1
Abstract
This introduction to Masao Matsuda’s essay, “The City as Landscape,” provides an outline of the essay’s role in the emergence of a radical discourse of landscape, known as fūkei-ron in Japan. In addition to illuminating crucial aspects of the political and discursive context of Matsuda’s writings, the introduction orients contemporary readers to this essay’s contributions to an expansion of the global imaginaries and aesthetic genealogies of the radical left.
松田正雄（Masao Matsuda）的文章《作为风景的城市》（The City as Landscape）的引言概述了这篇文章在日本被称为fúkei ron的激进风景话语出现中的作用。除了阐明松田作品的政治和话语背景的关键方面外，引言还向当代读者介绍了这篇文章对激进左翼的全球想象和美学谱系的扩展所做的贡献。
期刊介绍：
ARTMargins publishes scholarly articles and essays about contemporary art, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, from North Africa and the Middle East to the Americas, Eastern and Western Europe, Asia and Australasia. The journal acts as a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in art and politics in transitional countries and regions; postsocialism and neo-liberalism; postmodernism and postcolonialism, and their critiques; and the problem of global art and global art history and its methodologies.
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