Imaginative Mislocation: Hiroshima’s Genbaku Dome, Ground Zero of the Twentieth Century

The controversy that erupted in March over the publication of Charles Pellegrino’s account of the atomic bombings of Japan, The Last Train from Hiroshima, suggests that the historical legacy of the first military use of atomic weaponry is still fiercely contested in the USA. The spat is merely the latest conflict in a long war over the significance of the bombings, which resurfaces with each new book, exhibition or programme that appears. When the ruins of the Genbaku (Atomic Bomb) Dome – formerly the Hiroshima Prefectural Commercial Exhibition Hall – were nominated as a UNESCO World Heritage Site in 1995, the United States objected on the basis of concerns over a ‘lack of historical perspective’, arguing that the ‘events antecedent to the United States’ use of atomic weapons to end World War II are key to understanding the tragedy of Hiroshima’. The appeal to historical facts by both US diplomats and, more recently, military veterans contrasts with the dehistoricized emphasis of other Western cultural responses to Hiroshima. But what both kinds of reception share is an occlusion of the prehistory of capitalist liberalism, colonialism and imperialism which produces Japanese modernity,a prehistory which is itself built into the Genbaku Dome’s concrete structure, and an afterlife of nuclear pacification which produces the global context of terrorism as the continuation of war by other means.

How the sublime became "now": time, modernity and aesthetics in Lyotard's rewriting of Kant

Writing in the late 1980s, Nancy gives as examples of the "recent fashion for the sublime" not only the theoreticians of Paris, but the artists of Los Angeles, Berlin, Rome, and Tokyo. At the beginning of the twenty-first century, the sublime may of course no longer seem quite so "now" as it did back then, whether in North America, Europe, or Japan. Simon Critchley, for one, has suggested that, at least as regards the issue of its conceptual coupling to "postmodernism," the "debate" concerning the sublime "has become rather stale and the discussion has moved on." Nonetheless, if that debate has indeed "moved on"-and thankfully so-it is not without its remainder, particularly in the very contemporary context of a resurgence of interest in explicitly philosophical accounts of art, in the wake of an emergent critique of cultural studies and of the apparent waning of poststructuralism's influence-a resurgence that has led to a certain "return to aesthetics" in recent Continental philosophy and to the work of Kant, Schelling, and the German Romantics. Moreover, as Nancy's precise formulations suggest, the "fashion" [mode] through which the sublime "offers itself"-as "a break within or from aesthetics"-clearly contains a significance that Critchley's more straightforward narration of shifts in theoretical chic cannot encompass. At stake in this would be the relation between the mode of fashion and art's "destiny" within modernity itself, from the late eighteenth century onwards. Such a conception of art's "destiny," as inextricably linked to that of the sublime, is not unique to recent French theory. In a brief passage in Aesthetic Theory, Adorno also suggests that the "sublime, which Kant reserved exclusively for nature, later became the historical constituent of art itself.... [I]n a subtle way, after the fall of formal beauty, the sublime was the only aesthetic idea left to modernism." As such, although the term has its classical origins in Longinus, its historical character for "us," both Nancy and Adorno argue, associates it specifically with the emergence of the modern. As another philosopher states: "It is around this name [of the sublime] that the destiny of classical poetics was hazarded and lost; it is in this name that ... romanticism, in other words, modernity, triumphed."

Clichy-Batignolles, Paris: a case of successful inner-city regeneration

The third issue of the column deals with the regeneration of inner-city rail station areas. The successful case of Gare Saint-Lazare in Paris is analyzed by Giulio Verdini, an architect and urban planner based in China and Paris. The quality of this recent project is evident at different levels: as an innovative experiment of planning with public consultation, as a new mixed-used neighbourhood organized around a beautiful park, as a collection of interesting contemporary buildings promoted through open architecture competitions. The memory of the old rails has been interpreted as an occasion for creating significant urban connections, and the city of Paris demonstrated again and again its rare capacity to regenerate itself. 内城火车站区域的更新历来不是件轻松的工作,这在1990年代以来诸多的欧洲城市中都已经得到印证.伦敦的国王十字车站和柏林的中央火车站区域都是著名的更新案例,此外还有鹿特丹和斯图加特中央火车站这些争议性的案例,它们都表明了这个更新过程有多么复杂而难料.其原因包括众多相互角力的私人及公众影响、改造带来的未知花费及收益,以及市民群体在其中扮演的越来越重要的角色.这个位于巴黎17区的克里希·巴蒂涅奥勒开发区更新项目同样如此.不过,随着项目的建造渐入佳境,我们愈发可以看出,它很可能会成为欧洲内城最成功的更新案例之一.这篇简要介绍的目的就是勾勒出这一成功案例背后的构思和动机,以展现这个理应矛盾重重而得到未充分利用的地段如何成为让巴黎西北区改头换面的良机.