麻省理工伤害了中国人民的感情吗?

草蜢

2006年麻省理工在网上开始了一个图文展览.结果中国学生会认为是麻省故意侮辱中国人民,要求麻省开除这几个主办的教授.其实这个展览专门说明了日本人的心态.和当时的历史环境.
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, C2 U  M" h' L* z展览这部分叫"脱亚入欧"

麻省理工网上图文展览"脱亚"

"脱亚"部分
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麻省理工网上图文展览"脱亚"

展览的总结部分:
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2 g  ?: j0 f- G# L* HBecause racism in the age of imperialism is most commonly associated with “white supremacism” (and the smug rhetoric of a “white man’s burden”), this explosive outburst of Japanese condescension toward China and the Chinese seems all the more stunning. In the Western hierarchy of race, so-called Orientals or Asiatics or Mongoloids were lumped together—below the superior Caucasians and above the “Negroid.” In their inimitable way, the Japanese promoted these stereotypes where the Chinese were concerned, even while trying to demonstrate their own identity with the Caucasians.
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What made this even more disconcerting was the intimate overlay of race and culture in the case of Japan and China. No non-Chinese society was more indebted to China. Japan’s written language, its great traditions of Buddhism and Confucianism, vast portions of its finest achievements in art and architecture—all came from China. In an abrupt phrase familiar to all literate Japanese, even in the Meiji period, China and Japan were culturally as close as “lips and teeth.”
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But that, of course, was the point—and what made this outburst of anti-Chinese sentiment a very peculiar sort of racism on the part of the Japanese. The Chinese were contemptible because they were deemed inept. At the same time, however, “China” was symbolic and self-referential. “China,” that is, stood for “Asia.’ It stood for “the past.” It stood for outmoded “traditional values.” It stood for “weakness” vis-à-vis the Western powers. It stood, coming even closer to home, for “evil customs of the past” that Japanese leaders ever since the Meiji Restoration argued had to be eradicated within Japan itself if their nation—and Asia as a whole—were to survive in a dog-eat-dog modern world.
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“Old” China was the Anti-West, the Anti-Modern (a notion China’s own Communist leaders would later embrace with a vengeance themselves). As a consequence, while the corpses were unmistakably and brutally Chinese, they stood for a great deal more as well.

1 N: `4 [8 I3 m4 _3 ITo return to Fukuzawa’s famous phrase, killing Chinese amounted to “throwing off Asia” in every conceivable way. This was seen to be essential to Japan’s security, its very survival. It was deemed progressive. It amounted, when all was said and done, to embracing a “modern” kind of hybridization. Where the old Japan had been distinguished by enormous indebtedness to traditional Chinese culture, the new Japan would be distinguished by wholesale borrowing from the modern West.
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gordon

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# O, H9 ?2 y! n( @伤害了中国人民感情。
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' r6 ]8 U8 [2 h应该把土城子枪骑兵那副图贴出来，还有刘公岛的火炮口径好大啊。
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日军后勤做的还是不错的，马都用布包起来，防寒。马甲就是从这儿来的吧。
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日本人还派斥候到鸭绿江附近窥视，打倒小日本。

& N3 T, w( u, n& U8 F扬威真倒霉，日本人太下流了，竟然用下赖火药的高爆弹。

草蜢

gordon 发表于 2012-9-1 12:48
$ D$ j5 Z$ ~6 H2 X, K伤害了中国人民感情。

应该把土城子枪骑兵那副图贴出来，还有刘公岛的火炮口径好大啊。

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tanis

需要更多的细节~

草蜢

tanis 发表于 2012-9-1 23:17
需要更多的细节~

6 K* O) T% v$ r7 l连接在上。这是展览的总结

梦晓半生

靠，又贴这来，这些画是宣传屠杀战俘的，屠杀战俘在任何年代都不正义。而文章正是用这些画说明当年日本用种族主义宣扬屠杀，这既不是没有照顾中国人民感情（土共什么时候停止过放映南京大屠杀了），也不是让中国人有什么爱国热情（没听过看到自己人被屠杀会爱国），而是让大家了解日本人的野蛮甚至仇恨日本人，你让大家选啥呢。

dragonnj

不知道详情，没法评判MIT是否伤害了中国的感情。不过知耻而后勇，失去的得靠自己才能挣回来。

lihbalps

正视历史，正视现在，不就是每个中国人应该做的么？？
历史上被人欺负，差点亡国，这种事情难道还怕别人说么？？？
4 i4 ~+ S1 d8 Y4 q* s: p7 |" j9 o现在该做的与其是抗议，不如做好自己的事情。

bayerno

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6 _" R5 H) `- N& J( z- S& ?作为揭露日本人罪行的宣传, 即使中国人在其中充当了不光彩的麻木配角, 也是实实在在发生过的事情, 对于发生了的事情, 怎能装作不存在呢, 甚至人家一提就勃然大怒呢.....知耻而后勇, 南京大屠杀纪念馆还是爱国主义教育基地呢.

  W. E& T. Z1 o. O, j' M! p这也可以让人知道, 中国曾经是什么样子; 中国人民又是在怎样一个落后屈辱朝不保夕任人鱼肉的处境下用血肉筑长城, 从深渊中崛起的...那句"我们经历了多少苦难..."可真不是轻飘飘的一句话啊..
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对着这些照片, 才能真切体会到.

萨苏

草蜢 发表于 2012-9-1 13:12

中国人民的感情似乎不应该那么容易被伤害吧，那我们这个民族岂不是太脆弱了？

与其看着这些别扭，倒应该问问我们自己 -- 为什么没有从中国角度绘制的图画呢？反攻海城清军老将宋庆战马被打死两次犹死战不退，平壤战败，退到船桥里的清军仍能用回马枪击伤日军大岛旅团长，大清最后一任海军总司令萨镇冰用仅有的一门显隐炮在日岛炮台连伤日舰，苦斗到最后一刻，此炮残骸犹在威海。这一切，我们早已遗忘。

不知记录自己的忠魂，如何让后人在下一次战争中挺身而出？
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. M+ d4 T7 l0 h5 N8 K6 ^* a不能做到知耻而后勇，就算人家把展览撤掉，我们又有什么可骄傲？