0 「 igin 引 text ー pp. 052-048 Escape from PostwarJapanese Art Another Bad Pl ace lnterview From Museum tO Garden: The PhiIosophy of REAL DMZ PROJECT Sunjung Kim lnterviewed by YOhei Kurose & Hiroki Azuma Sunjung Kim is a leading independent curator in the South Korean contemporary art world. She has been deeply involved ⅲ the internationalization Of South Korean art, successfully curating numerous art festivals and organizing contemporary art exhibitions ln and outside her country. ln the REAL DM Z PROJECT, exhibited ⅲ Cheorwon since 2012 , she has developed a unique approach tO the demilitarized zone that lies between South and North Korea 、 ln this interview, Kim responds tO questlons about the pr0Ject, and the relationship of art tO memory and politics. Kim notes that she began the project to produce an opportunity for people to visit the location in person and think about the DMZ. She explains that it is important tO remember the reality Of division When one imagines the conditions that will follow the reunification of North and South Korea. Thus far the project has been run as an annual art exhibit open for a fixed period. Kim says thatshe now has plans tO build a permanent collection ofworks in Cheorwon that would be open to the public at all times. Festivals like biennales effectively show many works produced in a short period 0f time. She says that this is precisely why she wants tO take the time to carefully produce and exhibit works in this project. There are currently plans tO build a theme park-like tourist venue in Cheorwon. ln response, Kim has proposed the idea 0f a new 、 'garden" that Will preserve the traces and memorres of individuals related to the DMZ. A museum" simply Offers a space tO arrange collected objects. ln contrast, Kim notes that she would like to create a 、 'garden" to nurture traces and 】れ OI'1es. According tO Kim, division is not unique tO South Korea. There are divisions ofvarying kinds between South Korea and itS neighboring countries; furthermore, there are countries situations similar tO that Of South Korea. Kim states tha い he would like to make this prOJect an international endeavor and thus share experiences with artists having similar concerns from around the world. ・ E 1 2 English Translations and Abstracts

because it is a successful example Of dark tourism; rather, it is alSO because the REAL DMZ PROJECT was always there as a critical response. Because I am not an art critic it iS not possible for me t0 decide whether or not the REAL DMZ PROJECT is productive as an art project. However,just by reading the interview with Su 可 ung Kim included in this issue you can see that her strategy is a clever one; it is ロ 4 ″ ) (kokatsu) in the most positive sense Of the term. She is, Of course, critical Of the current state Of tour. She does not, however, criticize the act Of touristization. Rather, after having accepted the ambitions oflocal governments, military violence, and the pleasure 0f commerce, Kim is thinking about hOW tO quietly ect completely different ideas int0 the minds ofvisitors. This is why her 2012 exhibit was incorporated intO the standard visitor's route Of the Cheorwon DMZ Tourand why the 2015 exhibit was held in the downtown area Ofa 1 蝨 or tourist desti nation. The REAL DM Z PROJ ECT is not a negation ofDMZ dark tourism. Quite the contrary: it is the ど x. カ 0 れ豆の 2 ofdark tourism; it is an attempt tO deliver deeper and further the range of the paradox I call the deconstruction Of tourism. The REAL DMZ PROJECT belongs to the world after dark tourism. I realized that if G げ 0 れ were tO dO a special issue on art it would be essential tO have our Japanese readership come tO know the existence Of this world. Five years after the Great East Japan Earthquake, many 0f the remains from the disaster have been removed because they evoke painful memories for the victims. The establishment of disaster-prevention parks and museums is progressing extremaly slowly. China' however, lmmediately preserved the town that was reduced tO rums as a result Of the 2008 Sichuan Earthquake, designating it a memorial park ( B eichuan Earthquake Museum). When I visited in 2011 to gather information it was already attracting large numbers of tourists. 5 ln 2013 1 also visited ChernobyI. For a long time, Ukraine prohibited visitors from entering the 、 rast land surrounding the accident site. From 2011 , however, they began accepting tourists. Visitors are lent a dosimeter, which is intended tO teach them about the harmful effects 0f radioactivity. Based on my experiences ⅲ Sichu an and Chernobyl I proposed that we should turn the site Of the 2011 nuclear accident intO a site for tourists. My proposal was laughed off ⅲ Japan because people thought tourists would not dare tO come before decomm1SSioning had not yet commenced and the danger of radioactivity was still present in the land. However, as have I shown, the reality is that in Korea a conflict zone still under military tension attracts millions Of tourists annually by commodifying that very tension. ln a manner of speaking, the DMZ is far more dangerous than both Chern0byl and Fukushima; even still, tourism has been firmly established there. lt is not an easy task classifying human behavior, whether it be politics or entertainment, seriousness or unseriousness, or 召 X な C 召 or the / 〃〃 . Human beings are full Of contradictions: they can be 厖 0 5 and, at the same time, れ 5 ゾ 0 れ 5 ; the relationship between art and SOCiety must be discussed with such a prenuse in mind. However, somewhere along the way the Japanese people lost the will or power required tO confront these contradictions head-on. The mentality currently dominating inJapan iS neither serious (majime) nor unserious (fumajime) ; rather, it is perhaps best described as sober (kimajime). A sober approach despises more than anything the mixing Of the serious and u nserl()us. The line Of demarcation it draws between politics and entertainment iS clear. Moreover, it tries tO distinguish between E 0 6 English TransIations and Abstracts

0 ⅱ gin 引 text ー pp. 057-077 Escape from Postwar Japanese Art Another Bad Place Article The M irror and the Swamp , or Representation of Division in Media and Art Park Chan-kyong Even now, 66 years after the outbreak of the Korean War in 1950 , South Korea and North Korea are still legally at war with each other. This has not developed into a full-fledged war, but cold-war politics have profoundly influenced South Korean SOCiety as a whole. To discuss the changes thatthe division Of the tWO countries in South media, it iS necessary tO examine hOW South Korean artists are utilizing art, including 用 m. Che On 可 00n ' s M の“面 M 〃立な〃新 presented an archive Of North Korean cultural diplomacy and offered a fresh point ofview subverting the image Of North Korea as an isolated nation. The REAL DMZ PROJECT exhibition, a contemporary art project, initiated a discussion regarding the paradox 0f military power buildup in the demilitarized zone Of the peninsula, thus questioning the meaning Of true demilitarization. South Korean cinema made great strides in the 1990S and has come to take bel ief and doubt as its central themes. The collectively held doubt of the characters in film reflects the core mechanisms Of the South—North division. Park explains the relations between these countries, which depend on each Other for identity formation, using the metaphor Of a "mirror. " BOth countries continue tO select opposing ideologies and systems and the ceasefire line is a ト 0 a "swamp, which drags them into endless competition. Park emphasizes that a new culture and art that resists division must go beyond these paradigms to establish a solid grou nd. 0 genron 3 E 1 5

C ontributors Makoto Aida Born in 1965. Contemporary artist works rned iums Of expression ng painting, photography, sculpture, live performance, installations, novels, and manga. ーれ or SO ー 0 exhibitions i nclude "Monument for N0th ing" (Mori Art Museum, 2012-2013 ). Reiji Ando Born in 1967. Literary critic and associate professor in the Faculty OfArt and Design, TamaArt University. His works i nclude K 襯な襯ト加ね砌 (K0dansha) and 0 れ S ん励社 (Kodansha). Akira lde Born in 1968. Ph. D. ⅲ informatics. Researcher Of Associate Professor ⅱ 1 the Faculty ofManagement at the Otemon Gakuin University. Supervisor of the Dark Tourism magazine D 〃々“ Shigemi lnaga Born in 1957. Professor the lnternational Research Center for Japanese Studies. His works include K g 加 tasogareand & 新ん : ” ( b0th have been published The University of Nagoya press). Translators Michael Chan Born in 1984. Visiting assistant professor at the State University of New York, AIbany. Scholar in modern and contemporary Japanese literature 、 R. OSS Henderson Born in 1989. Graduate student i n Japan ese Literature at the University 0f Wash ington , Seattle, currently completing an i nternship at the Seattle Asian Art Museum. Sunjung Kim Born ⅲ 1965. Director ofthe Art Sonje Center and artistic director ofthe REAL DMZ PROJECT. She has previously served as commissioner Of the Korean Pavilion atthe 51st Venice Biennale and agent for dOCUMENTA ( 13 ). Yohei Kurose Born ⅲ 1983. Artist, art critic, and curator. CompIeted his doctoral course W01 ま in the Department 0f Fine Arts at Tokyo University ofthe Arts. Head of the Chaos*Lounge Art Collective. His works include 、 / 0 ん 0 訪房 - 加匆〃にれ (NHK Publishing). Park Chan-kyong Born ⅲ 1965. Artist and film director. HiS previous positions include director ofAlternative Space P001 and artistic director for Mediacity SeouI 2014. Noi Sawarag1 Born in 1962. Art critic. Professor in the FacuIty of Art and Design ofTama Art University, as well as a research member Of the lnstitute for Art Anthrop010gy of Tama Art University. His works include Nゆ20れ/@に〃イ石乃り社なな (Shinchosha) and G リ社なル加〃 (Bij utsu Shuppansha). Christopher Lowy Born in 1986. Ph. D. candidate inJapanese literature at the University ofWashington ・ His works include "Cho- heimenka-sh ita n ihongo-de-no komyunikeishon-ni-tsuite" ( g に〃 0 れ ど化 . , 4 ) , "Nihongo-no akitekucha" ( S ) ”中ん 0 れ法 1.1 ) , as well as numerous translations. J0hn Person Born in 1979. Assistant professor Atsushi Shinfuji Born in 1982. Researcher at the National Museum ofWestern Art. His contributed works include 〃れ - 加訪 0 (Arina Shob0). Seiichi Tsuchiya Born ⅲ 1975. Art critic. Associate professor ⅲ the FacuIty of Arts and Crafts, Okinawa PrefecturaI University ofArts. He has contributed tO works such as Ka んんい社川“れみりな社 ( Shogakukan ). Melon Uminekozawa Born in 1975. Author. His works include 〃厖 rasuto r た 0 (Seikasha Bunko), Z 0- 訪法 i (Hayakawa BunkoJA), and Z ど〃襯にななれ 0. ハ c ん〃 ! 4 (Gentosha Bunko). The author's A 〃な社″作 0 々の嗔 (K0dansha) was nominated for the 33rd Noma Literary New Face Prize. Hiroki Azuma Born in 1971. Head ofGenron. His works include 0 々社 : 、 / 0 の D 砒〃わゎ 4 ⅲ襯なな (University of Minnesota Press) and G にれラ″ 20 (VerticaI) ⅲ English. ofJapanese Studies at the State University 0f New York, AIbany. His translated works include Hiroki Azuma's G をれⅣ 2.0 (Vertical). KO Born in 1987. Translator. His translated works include ハな〃 0 〃 石阨れ (Kodansha), 臾厖 5 & ん 0 (K0dansha) and various essays for S んム 0 た社 and G に・ 0 ル genron 3 E 2 1

薹 0 、ミ Sys ョ . ・ Co コ、 e ョ po 「 a 「 y Co コ d 洋コ s 、 0 、 the Guo-Qiang, E ヾ e 「 y き ls Museum: http://www. Galle 「 y and CO 「 ne 「 house, May 5-June 19 1990. Representation 0 、、 de コ t 洋 Minneapolis: Unive 「 sity eve 「 ythingismuseum.com (accessed 」 anua 「 y 2 ☆ Aki 「 a Tatehata, ed.. Cubisme. ・ L'Autre 「ミ e ーー 2016 ). 0 ( Minnesota P 「 ess, 199 尸℃ . く三 . 、 esonances ゝ S 、 exh. cat.. Tokyo: 」 apan ☆ Gao MingIu, "Conceptual A 「 ( with Anti-conceptual ☆ Cf. studio Pei-Zhu, "A 「 t Museum ま「 Artist Yue Foundation, 200 、 Kungnip 工 yondae Misulgwan, Attitude: Mainland China, Taiwan. and 工 ong Minjun,": http://www.studiopeizhu.com (accessed ed., Cubism in ゝ s . ・ Unbounded Dia 、 bgues, exh. Kong," G 、 Oba/ Conceptua/ism. ・ POints 0 、 0 「、、 」 anua 「 y 29.2016 ). cat., Seoul: National Museum of Con ( e ョっ 0 「 a 「 y Art, 1950S こ 980S. exh. cat.. New Yo 「 k 】 Queens Museum ☆一 b ミ . 2005. 同展は東京からンウル、シンガポール〔お 0 ( A 「 t, 1999. ℃ . 131. ☆引 C → . Låszlö Glöze 「 ,"Abst 「 aktion als weltsp 「 ache," よびバリ〕へと巡回した。〔東京ヴァージョンのカタ ☆ C → . F 「 ances Bowles, ed.. China 0 コ a 「斗 The Este 、、å Westkunst: Zeitgenössische Kunst seit 1939. exh. ログは以下。『アジアのキュビスムーー・境界なき対話』 Co//ection—Chinese Co コョ po & 、 y ゝ、 7966 ー cat. - GIözer, ed. - Cologne: Museen de 「 Stadt Kö一三 東京国立近代美術館・国際交流基金編、ニ〇〇五年〕 200P exh. Cat., 工 umlebæk: Louisiana Museum of ☆、 b ミ . Dumont 981. pp. 172 ー 217- esp. 192. Mode 「 n A 「 (. 2007. ℃ . 17. ☆工 ans BeIting, "Commenta 「 y on 」 ulius Meie 「・ G 「 aefe," ☆ William Rubin, ed., = P ュ h7 ミ S ョ ' 2 ミ h Ce コゝ ☆四以下も参照。 G 、öba 、ゝ and the Museum—The ゝコミ 0 、 the a 、 and the Modern, 2 く 0 一 s.. exh. 」 ulius Meie 「 -G 「 aefe, Entwick/ungsgeschichte der GIOba 、 Turn 0 、 a コ d ゝ「こコ、コ望ä〔原文ママ〕】 http:// cat., New Yo 「 k 【 Museum of Modern Art; Boston; modernen Kunst, Munich: Piper, 1987 一℃ p. 728 ー 760. New Yo 「 k G 「 aphic Society, 1984. 〔ウィリアム・ルー globala 「 tmuseum. de/site/confe 「 ence/65 (accessed ☆ Belting, ゝ、 ( 工 ( 0 、 y after Modernism, ℃ p. 12 言 26. ビン編『ニ〇世紀美術におけるプリミティヴィズム Feb 「 ua 「 y 13-2009 ). 〔リンク失効〕 ☆工 ans Egon 工 oIthusen,Avantgarde. ・ Geschichte und 「部族的」なるものと「モダン」なるものとの親 ☆」 ulian Stallab 「 ass, ゝ、 ( 、コ co 、 po 、 a ( e The S ( 0 0 、 Krise e e 「ミéや Munich: Oldenbu 「 g言969 C. Finch, 縁性』上・下、小林留美ほか訳、淡交社、一九九五年〕 Contemporary ゝ Oxf0 「 d 【 OxfO 「 d Unive 「 sity P 「 ess, "On the Absence of an Avant-Ga 「 de," ゝ Studies 2004 も . 1. 、 0 「 an Ed 洋 0 、 . ・ 25 Essays in Memory 0 、 M ミ 0 コ S. ☆鮖 A 「 ( hu 「 DantO' Beyond the 8 、ミ 0 80X. ・ The Visua 、 ゝ、 ( s Post- 工 ( 0 ュ ca 、 Perspective, New Yo 「 k 】 ☆訂以下のシンポジウムの期間中に南條史生が行った発 FO き F 「 ederick 工 a 「 tt, ed., New Yo 「 k 】エ . N. Ab 「 ams, Fa 「「 a 「 St 「 aus G 一「 oux 言 992 も . 10. 一言。 "Whe 「 e ls A 「 ( Contempo 「 a 「 y?" ZKM 一 Ka 「 ls 「 uhe, 1975 も . 168. 以下も参照 ( ここに挙げた以外の文献も ☆工 ans BeIting, Das Ende derKunstgeschichte?;A 、 ( Octobe 「 19 ー 20, 2007. 掲載 ) 。 Belting, ゝ、 t a 、 Modernism. History after Mode 、 s ョ . ☆ Chris Gill, "China: Beijing Plans Majo 「 Museum; ☆れラシード・アライーンと彼が編集をつとめる『第三 ☆ V. S. Naipaul, The Enigma 0 、ゝ、、 ~ a/: ゝ ~ 0 ヾ e こコ Exclusive lnterview with the Head of the National のテクスト導 d ミ』誌については以下を参照。 Five Sections, London: Penguin Books, 1987. GaIle 「 y," The 、、 Newspaper 196 (Novembe 「 2008Y And 「 ea Buddensieg,"Visiblity in the A 「 ( Wo 「一 d 【 The ☆的」 ean- 工 ube 「 ( Martin, ed. ・MaミC砂鬲 de 、 a ( e 「希 - exh. p. 22. Voice of Rasheed A 「 aeen," Contemporary ゝ「 t and cat., Paris: Cent 「 e Geo 「 ges Pompidou; Editions du ☆、 b ミ . the Museum, ℃℃ . 5965. Cent 「 e Geo 「 ges Pompidou, 198 卩 223. 以下の ☆ Alexand 「 a Mun 「 0や ed., Cai Gu ? 0 コ、薹åミ ( 0 ☆ Rasheed A 「 aeen, The Othe 、 S ( 0 、 y. ・ゝ、、 0 , ゝ s コ 雑誌に掲載された写真も参照。 Connaissance des Be = e ヾや exh. cat. - New YO 「 k; London: Solomon R. Artists POS 、ー a 、 B ュ - exh. Cat.. London: ゝ詳一 no. 449 ( 」 une 1989Y ℃ . 60. フランスに旅立っ Guggenheim Museum; Thames 工 udson, 2008. 工 aywa 「 d GaIIe 「 Southbank Cent 「 e, 1989. 同 サンバの興奮をわかちあおうと大勢の人々が群れ集 や 242. 以下も参照。 Everything 、 S Museum. exh. 展は以下を巡回した。 Wolve 「 hampton A 「 ( Galle 「ド まっているさまが写っている。以下の表紙も参照〔同 cat.. Beijing: NationaI A 「 t Museum, China 200 Cai Ma 「 ch 10 ー A ℃「一一 2 199P Mancheste 「 City A 「 t 209 グローバルアートとしての現代美術 ( 前 ) / 、ンス・べノレティング

most recent trip to Seoul I visited three museums Of history: the Seodaemun Prison History Hall, the War Memorial of Korea, and the National Museum of Korean Contemporary History. The Seodaemun Prison History Museum iS built on the site Of a prison frOI れ the era ofJapanese occupation, and the prison has been reconstructed as an exhibit. ln it are wax figures recreating Korean pnsoners experiencmg torture at the hands ofJapanese rulers. The War 、 e Ⅱ ofKorea iS, as itS name suggests, a museum focusing on war; the majority Of its exhibits, however, are devoted tO the Korean War. ln front of the War Memorial are, lined in a row, the flags Of countries that assisted South Korea during the Korean War, as are memorials engraved with the names Of those WhO died in the war. Despite being a highly political facility with military tanks and fighters on display, the memorial is popular with tourists. The National Museum Of Korean Contemporary History opened its doors in 2012 near Gwanghwamun, focusing primarily on the modern and contemporary history 0f South Korea. Although the museum does touch upon the colonial period and the Korean War, itS strength lies in itS focus on the way in which contemporary Korea has became a democratic and prosperous nation. lt iS less political than one might expect given itS name. All three Of these museums are indispensable for understanding the national identity 0f Korea, and I imagined they would be helpful when writing about the reception 0f the DMZ % lt was with this in mind that I chose my destinations. After visiting, however, I experienced a kind of dizziness. lt suddenly occurred tO me that each Of those museums discuss the 0 厖 g 0f a community collectively referred t0 as (South) Korea; each one, however, presented a different narrative that locating origin in a different time and place. The Seodaemun prison History Museum has the goal of spre ading anti- Japanese education. lnevitably the history of this extends to the 1919 establishment of the ProvisionaI Government of the Republic 0f Korea. This is because the violence by the Japanese E mpire direc ted at the militants Of the independence movement can be spoken Ofin terms Ofa drama that directly connects tO contemporary Korean SOCiety. AS I mentioned earlier, the main focus Of the War Memorial ofKorea is the Korean War. Therefore, the decisive day here is the 1948 establishment of the Korean state, between the museum depictmg the war between fellOW countrymen as if it were a war Of freedom from the fatherland. (lndeed, the war is referred to as the Fatherland Liberation War ⅲ North Korea. ) Upon exiting the long war exhibition , visitors are led to a circular space. The words た〃化 and / 召召イ 0 ~ are written in various languages on the wall, and on a multi-monitor mstallation remimscent Of the work Of Nam June Paik flow videos of crowds laughing and sh ips blasting celebratory signal guns. What is being shown is that the birth of a true 辺に stems from the defeat ofNorth Korea, ourevil alter ego. ThiS iS a narrative of the founding of a nation completely different from the one rooted in the defeat 0fJapan. Finally, at the National Museum of Korean Contemporary History, we can see a third li ne Of demarcation. That is, the 1987 birth of the Sixth RepubIic, namely the democrati zation Of the nation. Written a exhibition r00n1 focusing on the 1980S was the following (an officialJapanese translation was provided) : 、 battle was waged over democratization stai ned with the b100d 0f opposition politicians, students, i ntellectuals , and laborers, "and"democracy finally won ⅲ the second half 0f the 1980S. " The weliving genron 3 E 0 9

0 「 igin 引 text ー pp. 524-545 Novel The Pigeon Clock of Dischronia lAfternoon 引 Uminekozawa ln the post-earthquakeJapan of 2029 , a mysterious quantum computer enables people t0 predict everything in the future in their phantasmal society that is created by augmented reality. ln the city ofTokimeguri, a special reconstruction zone in the Tohoku area, strange deals as well as a fight to the death takes place between three groups: the mysterious and wealthy Tokihori family, who show an unusually strong interest in time; the police; and an artificial intelligence that moves in the shadows. Each acts for their own reasons. On the night of the summer festival, our protagonist, Torihiko Shiratori, meets Yuyuka, the daughter 0f the Tokihori family. He finds himself slowly becoming embroiled in the conflict. Here begins the Afternoon section of the story, which began in Genron 1. lt will finally reveal the mystery behind time, as well as the truth behind everyone's actlons. During his month Of confinement in the Tokihori family estate, Torihiko finishes making the ん可 0 augmented reality device used during the 7 わ襯れル え The ん盟リ 0 is vital in his "Uchronia PIan" to slaughter Yuyuka. After its completion, Torihiko loses consclousness while speaking to the matriarch ofthe Tokihori family, Miyu, in the family dining hall. When he awakens, he finds himself inside the limousine in which he was kidnapped and taken [ 0 the Tokihori estate. Did his month in the estate really only take place over fifteen minutes? Torihiko is shocked by this reversal Of time and demands t0 be taken back tO the estate, but Kirishima, the family maid, kicks him out of the car and leaves. To successfully murderYuyuka, Torihiko asks detective Haori Kiryu to find the location of the Tokihori home. Meanwhile, the remains of police detective lkuno Shinomiya, the police inspector killed while investigating the Dischronia Syndrome incident, have been placed tO rest near the Tokimeguri police station; however, the Special Techn010gy Research Division of the police force disinters them to revive her. But then, a mysterious masked man who claims tO have been sent from Cryoracle, the cryonics corporation, attacks them tO take the corpse. Superintendent Shogo Kiritani reaches for his gun to get lkuno's body back, but as he does this, an explosion rips through the underground parking 10t of the Tokimeguri police station.. ・ E 2 0 English Translations and Abstracts

originaltextl PP. 252-268 lntroduction tO Dark Tourism い 0 ー AJourney through War and Terrorism in France Akira lde ThiS article exammes the continuity and connections between post-World War Ⅱ modern history and the November 2015 coordinated terrorist attacks in Paris from the perspective Of the tr1P starting in the northwest Of France and ending in paris. Using the experiences Of the author's first visit tO Le Havre in the north 、 vest Of France the reconstruction of the city after World War Ⅱ and its registration as a World Heritage Site are analyzed, followed by a contrast with the Great EastJapan Earthquake ・ The author's second visit iS tO the city of Caen, well-known for its role in the Normandy invasion on D-day. The author reconsiders hOW European SOCiety digested the memory 0fWorld War Ⅱ , drawing on information about the Japanese army displayed in Caen's Peace Memorial Museum. During a trip tO th e author considers the cultural context Of 、、 mourning" discussed in G に ro れ 2 and the transmission Of memories Of grief in France. The author alSO visits several terrorist attack sites and describes the states Of grief at these locations where large numbers 0f people continue t0 pray for the dead. During his final stop ⅲ France tO the immigrant neighborhoods Of northern paris, the author the conditions leading tO terrorism and the mechanisms resulting in the birth Of terrorists. Results suggest that conditions Of present-day terrorism originate due tO contradictions caused by advanced countries utilizing the Of developing countries tO their own advantages ・ 0 genron 3 E 1 9

gateway t0 the DMZ Tour and home ofthe Bridge 0fFreedom. According to an official brochur ℃ , lmjingak attracts more than 5 000 , 000 visitors annualy. Within the park is the entrance tO the Civilian Control Zone, but because the facility itselfis free ofcharge it is difficult tO determine exact attendance numbers. An annual count 0f5 , 000 , 000 visitors places the DMZ Tour within the top twenty amusement parks in the world and makes it the third h ighest park ⅲ Korea after L0tte World ( 7 , 600 , 000 visitors) and EverIand ( 7 , 380 , 000 ). 2 T0day the DMZ Tour is clearly a pillar 0f Korea's tourism industry. ThiS sort Of touristization iS, Of course, deeply intertwined with South Korean policy and ideology. Plans for the DMZ Tour were promoted by the so- called Sunshine P01icy implemented from the late 1990S until the end 0f2000S , a policy that aimed at easing tensions with the North. Therefore, publicly at least, the DMZ Tour must always present itself as hopeful for unification and seeking reconciliation with the North. And yet, the reality is much more complex. ln fact, here and there on the tour participants are faced with exhibitions and videos that stress the threat Of North Korea. For example, at the so-called Third Tunnel in Paju, visitors are guided by a seven- minute video. The tunnel itself was discovered in 1978 and is thought t0 have been constructed by North Korea in an attempt t0 invade the South. With a flashy soundtrack playing ⅲ the background, the high-tempo and well-edited video documents skirmishes with the North over the past half-century in a style reminiscent Of a trailer for a big-budget war 61m. Watching the film, one loses sight ofwhether the Korean government iS seeking peaceful reconciliation with the North a final resolution vis-a-vis war. ln any case, the screening r00n1 iS equipped with headphones offering translations intoJapanese and many Other languages, and its purpose as propaganda especially designed for foreign tourists is obvious. The target of the propaganda is not only foreigners. At the Cheorwon Peace Observatory our team passed what seemed to be a group of high school boys being led around by their teacher. The boys, clearly from the countryside, laughed innocently and gave the peace sign when our editor turned her camera on them. ln a few years they, t00 , will be called upon tO serve tWO years Of compulsory military service. A few 0f them might actually confront the 、 'enemy" while stationed at the border. ln this way, c 厖りんな襯 a ト 0 functions as an educational tO for a younger generation Of South Koreans. For the past few years ー have been thinking about things in terms of イ〃 / 0 れ厖、、川、 Tourism as a concept assumes 5 に c 厖り . The term security comes from the Latin 、 c r ″〃、 , comprised Of the Latin prefix ー , meaning 、、 without," and cura, meaning 、 anxiety" or 、 'care. From this etymology we can extract a philosophically interesting analysis Of the practice. Cura corresponds tO care ⅲ English and Sorge ⅲ German. ln Other words, 5 れ厖り suggests a favorable condition without care or SO ・′ . However, Martin Heidegger, the representative philosopher of the twentieth century, argued that it was precisely the existence of Sorge that makes humans humans. He argued that humans always have Sorge toward the world and, because they build relations with the world imbued with that tension, they can exist as an exceptional entity (existence) as a Being-in-the-World (In-der-WeIt-Sein). If humans were to lose such S の or concern for the world then, perhaps, they would 〃 (verfallen) int0 becoming 心り " (das Man) surrounded by な (Gerede). 5 Heidegger's claim (called existentialism) resonated with the E 0 4 EngIish Translations and Abstracts

G 円な 0 れ may very well be its first substantial introduction in theJapanese media. What does the DMZof the title mean? I wrote that the exhibition venues are located near the borderbetween North and South Korea. ln reality, though, わ or. イ in the normal , static sense Of the word iS an inaccurate expression because North and South Korea are te ch nicially still in a state ofwar and as such dO not acknowledge each Other'S existence as nations; therefore, technically, a border as a national border alSO does not exist. lnstead, what lies between the tWO countries iS a ? 〃″″〃 ? ) イ召〃 ~ 〃む〃〃 0 れ〃ど drawn up with the 1953 cease-fire agreement of the Korean War. As part of the same agreement, and in addition tO the military demarcation line, there was a 群〃〃″〃 r たどイ ぇ 0 に establshed. This dem ilitarized zone is often abbreviated as DMZ. The DMZ was intended tO be four kilometers wide running north-south but in the course Of the past 60 years North Korea and South Korea have continued to sporadically encroach each other's so-called "border ”・ as a result, at certain spots this "border" has shrunk tO a mere 700 meters. Even still, it extends 250 kilometers moving east tO west, and this vast land covering a total area of 570 square kilometers has transformed intO a no-man's land where humans may not enter. Though slightly different from Sawaragi s usage, we might say that the postwar condition gave birth tO the DMZ, yet another わ 0 イが化 The REAL DMZ PROJECT was designed to show that reality (the ル ) 0f the demilitarized zone. The military demarcation line Of the Korean peninsula is known the world over as the Site Of one Of the most tense national borders. ln the fall 0f 2010 , a serious conflict erupted at the border above the Yellow Sea that appeared t0 signal the onset Of war; more recently, in the summer of 2015 , landmines buried 1 in the demilitarized zone by North Korea exploded, causing two South Korean soldiers tO suffer serious injuries. lnterestingly enough, howe 、 the South Korean government iS enthusiastiC about turning the DMZ and its surrounding areas intO a tourist attraction. lfyou have visited Seoul before you are probably ah ℃ ady familiar with trips t0 the DMZ, which are referred to as c れ厖り / Ot な襯 (anbO gwangwang) in Korean while tours geared towards foreigners are simply called DMZ んハ . B0th are heavily advertised, with brochures on display at any mid-level hotel and above. Though billed as a tour of the DMZ, in reality you cannot actually enter the demilitarized zone. Just beyond the DM Z , however, is the C ん市〃〃 Control / 0 (CCZ), a space where entry by the general public is limited. Contained within the CCZ are numerous historical sites : remains fr01 れ the Korean War, vestiges from North Korea's attempt tO invade South Korea, and leftover railroad tracks split in tWO at the border. These are all stops on government sanctioned tours ; you can alSO Cli mb an observation deck overlooking the DMZ and peer intO a North Korean townjust over the border. When relations between the tWO countries are stable , visitors are alSO able tO enter into the 、 / 0 わ S 厖り Area (JSA) of the DMZ, or PanmunJeom, and take commemorative phOtOS with North Korean soldiers standingjust over the border. (NeedIess to say the North Korean soldiers never crack smile. ) S11Ch DMZ tours were at one time open on to foreign tourists. From the m id -1990S , however, Korean nationals were permitted tO participate in the tours, which has since grown intO a large tourist industry. Nearly everyday there are tour buses departing from hotels ⅲ SeouI, and a daily DMZ 行〃 is operated by KoraiI (Korea RaiIroad Corporation). About 40 kilometers north ofSeoul is lmjingak, a park known as the genron 3 E 0 5