This book explores five cases of monument and public commemorative space related to World War II (WWII) in contemporary China (Mainland), Hong Kong and Taiwan, all of which were built either prior to or right after the end of the War and their physical existence still remains. Through the study on the monuments, the project illustrates past and ongoing controversies and contestations over Chinese nation, sovereignty, modernism and identity. Despite their historical affinities, the three societies in question, namely, Mainland China, Hong Kong and Taiwan, vary in their own ways of telling, remembering and forgetting WWII. These divergences are not only rooted in their different political circumstances and social experiences, but also in their current competitions, confrontations and integrations. This book will be of great interest to historians, sinologists and analysts of new Asian nationalism. PAN Lu received her PhD from Comparative Literature, The Universityof Hong Kong. Pan did her research as visiting fellow in Berlin Technical University, Harvard Yenching Institute, Fukuoka Asian Art Museum and Taipei National University of the Arts. She teaches Chinese Culture as an assistant professor at The Hong Kong Polytechnic University. Pan is author of two monographs: In-Visible Palimpsest: Memory, Space and Modernity in Berlin and Shanghai (Bern: Peter Lang, 2016) and Aestheticizing Public Space: Street Visual Politics in East Asian Cities (Bristol: Intellect, 2015).

Autorentext
PAN Lu received her PhD from Comparative Literature, The University of Hong Kong. Pan did her research as visiting fellow in Berlin Technical University, Harvard Yenching Institute, Fukuoka Asian Art Museum and Taipei National University of the Arts. She teaches Chinese Culture as an assistant professor at The Hong Kong Polytechnic University. Pan is author of two monographs: In-Visible Palimpsest: Memory, Space and Modernity in Berlin and Shanghai (Bern: Peter Lang, 2016) and Aestheticizing Public Space: Street Visual Politics in East Asian Cities (Bristol: Intellect, 2015). 

Inhalt

Introduction: Decolonizing War Monuments in Greater China: History, Architecture and Visual Culture

The introduction offers an overview of the book in terms of its social and historical background, its significance, the theoretical framework and brief introduction to each chapter. While each chapter focuses on one particular locus and case, in the introduction, the interconnections among the five cases are elaborated.

Chapter 1 Between Iconic Image and (Artificial) Ruins: Shanghai Sihang Warehouse and Chinese Modern Visuality of World War II

Opened in 2015, Sihang Warehouse Memorial Museum is an architectural relic where the fierce and famous Defense of Sihang Warehouse during the Battle of Shanghai (Aug. to Nov. 1937) during the Second Sino-Japanese War took place. However, for a long time, the warehouse was barely used as a commemorative site in Communist China's war memory narrative.  This paper endeavors to bring the warehouse space from the background of the much-studied battle per se, to the foreground of its architectural history, painting, photographic and cinematic representations, and its current form of a rare spectacle of artificial ruins in war commemorative culture in the present China. Sihang Warehouse's image and meaning are not only determined by its past as the valorization of the past has constantly been unstable.  The chapter unfolds how commemorative space for modern and contemporary Chinese war memory and its meaning has been constructed, deconstructed, and reconstructed.  

Chapter 2 (Forgotten) Landscape of Imperial War Memories in a Colonial City: Hong Kong's Cenotaph and The Statue Square

The Hong Kong Cenotaph stands on the Northeast corner of the Statue Square, which was built in 1887 in commemoration of the Victoria Queen's Golden Jubilee.  The pre-WWII Statue Square can be said as a space where the government and the merchant class jointly nurtured royalty and power in the early colonial years of the city.  The breakout of the Asian Pacific War and the Japanese occupation of Hong Kong in 1941, however, transformed the square forever. Most of the statues on the square, which were mostly made from bronze, were transported back to Japan and melted for making cannons for the war.  After the war, as most of the statues were not able to return to their original sites on the Statue Square, what to do with the empty lot became a question. By tracing the symbolic and actual transformations of the Statue Square after WWII, this chapter tries to understand the changing spatial context of the Cenotaph in the postwar years. The changing nature of Statue Square in the postwar years brought the Cenotaph two major changes. Firstly, the Cenotaph became isolated, decontextualized and thus forgotten in the narrative of the Statue Square, where the beauty, cleanliness, everyday order of the urban garden, rather than symbolism speaking to colonial loyalty, were the featured and major attractions. Secondly, as the number of visitors of the Statue Square dramatically increased, accessibility of the area around the Cenotaph, which is no longer a ritual space for the social elites, has to be regulated and interpreted as an issue of everyday public space.****

Chapter 3 Imagining Imaginarium in Taipei: From Taiwan Jinja to National Revolutionary Martyrs' Shrine This chapter focuses on the case of the National Revolutionary Martyrs' Shrine in Taipei in the matrix of colonialism, nationalism and war memories in East Asia. Tracing back to the topological history of the Martyrs' Shrine, this chapter first scrutinizes the space-making process of the Shrine's surrounding Yuanshan Area, in which Taiwan Jinja and Gokoku Jinja were built in the Japanese colonial period. Secondly, the chapter analyses aesthetic and spatial style of the Martyrs' Shrine and its nearby Grant Hotel in relation to war mobilization, commemoration and national building through architectural form. The changing nature and symbolism of Yuanshan and the actual space of the Martyrs' Shrine reveals how various forces tried to iconize the area with their own modernization agendas and ideals, constituting identities of being Japanese, Chinese and Taiwanese. Lastly, two contemporary art projectsBecoming Taiwanese by Taiwanese photographer Liang-Pin Tsao and Torii by Japanese artist Motoyuki Shitamichi are examined. The two projects reanimate visual memory and history of martyrs' shrines in Taiwan and the relics of Shinto Shrines in Japan's former colonies in Asia respectively. Martyrs' shrines in Taiwan are not completely out of function, but they do have transfor...