| DECAMOUS GABRIELLE（でかます がぶりえる） | データ更新日：2023.09.29 |
准教授 ／
言語文化研究院
国際文化共生学部門
言語文化研究
| 1. | Decamous Gabrielle, The Dark Radiance of Atomic Bomb Literature - Book excerpt, The MIT Press Reader, Online, 2021.09, [URL], Book excerpt from Invisible Colors, The Arts of the Atomic Age (MIT Press, 2019). |
| 2. | Decamous, Art, Censorship and Nuclear Warfare - Printed version, Leonardo Journal, MIT Press, https://doi.org/10.1162/leon_a_01881, 54, 5, 537-541, Volume 54, Issue 5, pp. 537-541., 2021.10, [URL], The traumas of nuclear warfare, from 1945 to the end of the Cold War, are not merely calamities of the past. They still have contemporary consequences, contaminating the health, lives and memories of the many nuclearized cultures in Japan, Oceania and other places. The author argues that looking at past and present artworks representing the nuclear age helps us to understand nuclear nations’ biopower and its lasting effects.. |
| 3. | Decamous, La pliure radioactive, 2021.04, [URL], Cet article analyse quelques plis et faux plis radioactifs à travers des œuvres artistiques phares de l’ère atomique. On comprendra les applications positives et les accidents et agressions de l’ère atomique comme des « plis » et « faux plis ». L’article se concentre en particulier sur le nucléaire militaire et sur les œuvres d’art des victimes de « la » bombe et des centaines de bombes testées dans le Pacifique pendant la guerre froide. Cette analyse mènera, entre autres, en France et aux États‑Unis, du temps de la recherche des Curie, jusqu’au Japon, en Océanie et même en Afrique, de l’après‑guerre à nos jours. Mais à travers cette étude, c’est surtout l’entremêlement ontologique des arts et de la science qui sera mis en évidence, l’impossibilité de les démêler ou déplier entièrement.. |
| 4. | Decamous Gabrielle, Art, Censorship, and Nuclear Warfare, MIT Press, Online, 2020.02. |
| 5. | Gabrielle Decamous, 近現代の芸術における芸術と科学の「内的な相互作用」について (About Art and Science's "Intra-actions" in Modern and Contemporary Art), Hosei University, Tokyo, Mar 2015, International Japanese Studies, 2015.04, This paper addresses the following observation: in Japan, in the East, as much as in the West, there is one same divide, the one separating art from science – or more broadly – separating the humanities from the modern sciences. My argument is, on the one hand, that to analyze this divide constitutes one way of solving some of the challenges of the 21st century - one of which relating to national identities. On the other hand, and most importantly, I wish to demonstrate that, in spite of the divide, the two disciplines, as much as the East and the West, have more in common than commonly assumed and that this divide, even if profound, is not so radical.. |
| 6. | Gabrielle Decamous, "Multiculturalism and Education: The Challenges of International Programs", Kyushu University Press, 2014.03. |
| 7. | Gabrielle Decamous, "Bridging the Gap: Art, Science, Philosophy – Modernity in Question", The International Journal of the Humanities, 9, 8, 183-194, 2012.05, In 1958, for a international conference titled Man and the Atom, physicist Werner Heisenberg argued that modern physics and its applications have overcome and renewed philosophy from Antiquity to Kant in the dispute over the formation of matter. He even asserted that the arts themselves, should consider the changes that occurred in the scientific view of nature. While few years earlier, in The Question Concerning Technology, Martin Heidegger defined the essence of modern technology as an ‘enframing,’ a limitation, when humans are challenged by themselves and nature more than the other way around, and saw in art a ‘saving power’ against this enframing of technology. This paper will consequently consider the interaction between the three fields: modern science, philosophy and the arts, and will show how, in spite of all appearances, these fields are not as distant and autonomous as usually assumed. My argument is that they jointly participated (willingly or not) to the western project of modernity, and that it becomes necessary to reconsider this joint project in our global and contemporary context.. |
| 8. | Gabrielle Decamous, "Nuclear Activities and Modern Catastrophes: Art Faces the Radioactive Waves", MIT Press, 44, 2, 124-132, 2011.04, Nuclear-related artworks provide a favorable terrain for investigation of our contemporary epoch, for they relate to a science whose applications are highly political and that is spreading beyond the western world. in times of global warming, indeed, the prospect of nuclear energy reappears as the latest sought-after modern technology. But after Hiroshima and Chernobyl, and given the dualistic civilian and military use of the atom, how do artists react to nuclear activities and their inherent politics? Can art provide an effective counter- practice to global nuclear politics? the author argues that art and science share the same project—the modern project—and that art, like science, has to question its modern heritage.. |
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