“ Your Life Is One-Hundred-Percent at Risk”: The Caravan of the Mutilated and the Internationalism of the Vulnerable

IF 1.1 2区 社会学 Q2 ANTHROPOLOGY Public Culture Pub Date : 2022-03-18 DOI:10.1215/08992363-9435442
Eric Vázquez
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Abstract

This essay examines the cultural politics of migrant caravans through video testimonies produced by Honduras’s Association of Returned Migrants with Disabilities (AMIREDIS). While the stated aim of the 2015 association-sponsored Caravan of the Mutilated involved raising transnational public awareness of the plight of Central American migrants, this essay argues that AMIREDIS’s testimonies and embodiments conjoin the savage risk confronting migrants with histories of imperialist expropriation and transnational financial processes in which migrants find themselves increasingly incorporated. In effect, their testimonies and embodiments invert the reparative logic of worker remittances—cash transfers often thought to be the objective of migration. Against the cruel economies of risk that decapacitated AMIREDIS members as laborers, their testimonies offer an internationalism of the vulnerable. This ethic of mutual vulnerability works against financial markets’ “pooled risks” and capitalism’s predilections to explain away its crippling eventualities with terms like “negative externalities” or “spillover effects.”
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“你的生命百分之百处于危险之中”:伤残者的大篷车和弱势者的国际主义
本文通过洪都拉斯残疾归国移民协会(AMIREDIS)制作的视频证词,探讨了移民大篷车的文化政治。虽然2015年协会赞助的“被肢解者大篷车”的既定目标是提高跨国公众对中美洲移民困境的认识,本文认为,AMIREDIS的证词和体现将移民面临的野蛮风险与帝国主义征用的历史和移民越来越多地融入其中的跨国金融过程联系在一起。事实上,他们的证词和实施方式颠覆了工人汇款的修复逻辑——现金转移通常被认为是移民的目标。与将AMIREDIS成员作为劳工斩首的残酷风险经济相比,他们的证词提供了弱势群体的国际主义。这种相互脆弱的伦理与金融市场的“共同风险”以及资本主义倾向于用“负外部性”或“溢出效应”等术语来解释其严重的偶然性背道而驰
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来源期刊
Public Culture
Public Culture Multiple-
CiteScore
2.10
自引率
6.70%
发文量
34
期刊介绍: Public Culture is a peer-reviewed interdisciplinary journal of cultural studies, published three times a year—in January, May, and September. It is sponsored by the Department of Media, Culture, and Communication, NYU. A four-time CELJ award winner, Public Culture has been publishing field-defining ethnographies and analyses of the cultural politics of globalization for over thirty years. The journal provides a forum for the discussion of the places and occasions where cultural, social, and political differences emerge as public phenomena, manifested in everything from highly particular and localized events in popular or folk culture to global advertising, consumption, and information networks. Artists, activists, and scholars, both well-established and younger, from across the humanities and social sciences and around the world, present some of their most innovative and exciting work in the pages of Public Culture.
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