ABSTRACT

This article compares two recent expositions held in Nagasaki, Japan, in 1990 and 2006. Both expositions responded to structural economic changes related to deindustrialization that prompted reidentifications with the city’s history as a maritime trade hub in early modern Japan. To compare two temporally laced identities that emerged from this turning point, I distinguish each exposition’s dominant chronotope. The 1990 Journey Exposition is characterized by Tabi (Journey)-time, which departs from a distant past to transit through a disappearing present towards a utopian future where Nagasaki has once again become an international port. The 2006 Saruku Expo is characterized by Saruku (Strolling)-time, which introspectively rediscovers Nagasaki’s local heritage within the present while imagining a changeless future, erasing the temporal divisions formative of Tabi-time. If Tabi-time is national time derived from national expositions, Saruku-time is local time derived from heritage and memory. These chronotopes are characterized by different arrangements of exposition grounds and different mobilities that visitors were expected to perform on their fairgrounds. The Journey Exposition spatially delineated Nagasaki into future and past zones, whereas the Saruku Expo featured a series of wandering strolls that drew no clear temporal boundaries. Visitors in Tabi-time engaged in epic, romantic voyages across national borders, whereas visitors in Saruku-time displaced themselves locally in an inquisitive, slow-paced manner. The article draws from exposition documents like guides and official records as well as a local town magazine to argue that the formal organization of time can be practically utilized for economic and identity-building purposes as well as politically contested between different parties. It also develops recent scholarship in Theory of History such as Hayden White’s concept of the ‘practical past’ and recent theorizations on the disorder of postmodern time.

摘要

本文比较了 1990 年和 2006 年在日本长崎举办的两次博览会。这两次博览会都响应了与去工业化相关的结构性经济变化，促使人们重新认识该城市作为近代日本海上贸易中心的历史。为了比较从这个转折点出现的两个时间关联的身份，我区分了每个展览的主导时间体。1990年的旅程博览会的特点是“旅行”时间，从遥远的过去出发，穿越正在消失的现在，走向乌托邦的未来，长崎再次成为国际港口。2006 Saruku Expo 的特点是“漫步”时间，在当下反思性地重新发现长崎的当地遗产，同时想象一个不变的未来，消除了分趾袜时间的时间划分。如果说分趾时间是源自国家博览会的国家时间，那么萨鲁库时间就是源自遗产和记忆的当地时间。这些时空体的特点是展览场地的不同布置和参观者在展览场地上进行的不同活动。旅程博览会在空间上将长崎划分为未来和过去的区域，而猿留博览会则以一系列没有明确时间界限的漫步漫步为特色。足袋时代的游客进行史诗般的、浪漫的跨越国界的航行，而萨鲁库时代的游客则以一种好奇、缓慢的方式在当地流离失所。这篇文章借鉴了指南和官方记录等博览会文件以及当地城镇杂志，认为正式的时间组织实际上可以用于经济和身份建设的目的，也可以用于不同政党之间的政治竞争。它还发展了历史理论中的最新学术成果，例如海登怀特的“实践过去”概念和最近关于后现代时间混乱的理论。