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Transgressive Automatons. Re-Visioning the Cyborg in Larissa Lai’s Rachel 违法的机器人。在拉丽莎·莱的《蕾切尔》中重现半机械人
Pub Date : 2023-03-30 DOI: 10.4467/20843860pk.23.005.17848
Agnieszka Podruczna
The article aims to analyze the ways in which Larissa Lai, in her short story Rachel, appropriates and racializes the figure of the cyborg by re-visioning and retelling the story of one of the most iconic characters in the history of cinema, the android Rachael from Ridley Scott’s Blade Runner (and, by extension, her literary predecessor).Using postcolonial theory as well as theory of science fiction as the primary methodological frameworks, the article demonstrates how – by infusing the character of Rachael/Rachel with a hybrid identity – Lai engages in a discussion concerning race, belonging, and the power struggle between the central and the peripheral. This struggle, in turn, is embodied by the liminality of the cyborg, who may be interpreted as a metaphor for all that eludes (and actively rejects) the colonial Self–Other binary. This, in turn, highlights the tensions accompanying the intrusion of the peripheral into the hegemonic and allows for a more in-depth discussion of the processes concerning negotiation of identity.Moreover, the paper focuses on the way in which Lai constructs the metaphor of the Othered, racialized cyborg in order to deconstruct the notion of the cyborg perceived as a neutral (i.e. white) entity, writing against the hegemonic canon. In this way, the racialized cyborg stands as the symbol of transgression, rebellion and rejection of the center/periphery dichotomy, one which eschews the (neo)colonial binaries and becomes a source of anxiety for the hegemonic discourse.
本文旨在分析拉里萨·赖在她的短篇小说《蕾切尔》中,通过重新构想和复述电影史上最具标志性的角色之一——雷德利·斯科特的《银翼杀手》中的机器人蕾切尔(以及她的文学前辈)——的故事,盗用和种族化了电子人的形象。本文以后殖民理论和科幻小说理论作为主要的方法论框架,展示了莱是如何通过给瑞秋/瑞秋这个角色注入一种混合的身份,来讨论种族、归属以及中心和边缘之间的权力斗争的。这种斗争反过来又体现在生化人的局限性上,生化人可以被解释为所有逃避(并积极拒绝)殖民自我-他者二元对立的隐喻。这反过来又突出了外围国家入侵霸权所带来的紧张局势,并允许对有关身份谈判的进程进行更深入的讨论。此外,本文聚焦于Lai构建他者、种族化的半机械人隐喻的方式,以解构被视为中立(即白人)实体的半机械人的概念,反对霸权的经典。通过这种方式,种族化的半机械人成为了对中心/边缘二分法的越界、反叛和拒绝的象征,它避开了(新)殖民主义的二元对立,成为霸权话语的焦虑来源。
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引用次数: 0
Food Herstories and Everyday Life in Times of Crisis. Women’s Experiences in Food Production, Distribution and Consumption 危机时期的食物故事和日常生活。妇女在粮食生产、分配和消费方面的经验
Pub Date : 2023-03-30 DOI: 10.4467/20843860pk.23.002.17845
Magda Popławska
The aim of this article is to analyze women’s experiences of household food production, distribution and consumption as a response to the difficulties and challenges of daily life. The adopted perspective integrates research from food studies, historical sociology, and gender studies. The author’s intention is to discuss the multifaceted, gendered nature of food practices, highlighting their transformations, and modes of continuation. References to the analysis of alternative food networks draw attention to both contemporary and post-WWII food practices and introduce to the discussion concepts which remain important for contemporary society, e.g. community and sustainable solutions. This analysis is based on a review of literature, particularly oral histories and autobiographical accounts by both urban and rural women, and references various documented food-related activities. As demonstrated in the article, presentation of women’s food-related stories involves exploring alternatives to the scarcity economy of state socialism and contemporary anonymous mass production. These alternatives, embedded in the space of the kitchen, the farm field, or the allotment garden, are more than just coping strategies – they appeal to such values and ethical norms as mutual assistance, trust, and reciprocity. They can be interpreted through the lens of creativity and resourcefulness, as well as in terms of power relations and resistance in the context of everyday crises.
本文的目的是分析妇女在家庭粮食生产、分配和消费方面的经验,以应对日常生活中的困难和挑战。所采用的观点整合了食品研究、历史社会学和性别研究的研究。作者的意图是讨论多方面的,性别性质的食物做法,突出他们的转变,和模式的延续。参考对替代食物网络的分析,引起人们对当代和二战后食物实践的关注,并引入对当代社会仍然重要的讨论概念,例如社区和可持续解决方案。这一分析是基于对文献的回顾,特别是对口述历史和城乡妇女自传体叙述的回顾,并参考了各种有记录的与粮食有关的活动。正如文章中所展示的那样,女性食物相关故事的呈现涉及探索国家社会主义稀缺经济和当代匿名大规模生产的替代方案。这些被嵌入厨房、农田或菜园的替代方案,不仅仅是应对策略——它们呼吁互助、信任和互惠等价值观和道德规范。他们可以通过创造力和机智的镜头来解释,也可以从日常危机背景下的权力关系和抵抗来解释。
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引用次数: 0
Antycypacja i wyobraźnia. Tekstowa „przyszła Polska” 期待与想象。文本中的 "未来波兰"
Pub Date : 2023-03-30 DOI: 10.4467/20843860pk.23.006.17849
Justyna Tabaszewska
The starting point of the article is an analysis of the volume PL +50 (2004), edited by Jacek Dukaj and the short stories by Łukasz Orbitowski: Nadchodzi and Popiel Armeńczyk (2017). The interpretation of those alternate stories is used as a point of departure for posing a broader question regarding the social and cultural functions of constructing a coherent imaginations regarding the future. Particular attention is paid to the dominance of negative visions of the future and the dangers of describing what is yet to come in overly optimistic colors. The article combines the methodology arising from the analysis of alternative histories, affect studies and memory studies to indicate that theory of premediation (Richard Grusin, 2010) can be especially useful in order to explain the positive social impact of negative visions of the future. Premediating threatening future can be – as indicated for example by B. Hirst and M. Topcu – the first step towards improving the present.
本文的出发点是对Jacek Dukaj编辑的PL +50卷(2004)和Łukasz Orbitowski: Nadchodzi和Popiel的短篇小说Armeńczyk(2017)的分析。对这些交替故事的解释被用作一个出发点,提出一个更广泛的问题,即构建关于未来的连贯想象的社会和文化功能。特别要注意的是,对未来的消极看法占主导地位,以及用过于乐观的色彩描述未来的危险。本文结合了对替代历史、影响研究和记忆研究的分析所产生的方法,表明预中介理论(Richard Grusin, 2010)在解释对未来的消极愿景的积极社会影响方面特别有用。正如赫斯特(B. Hirst)和托普库(M. Topcu)所指出的那样,预见威胁未来可能是改善现在的第一步。
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引用次数: 0
W poszukiwaniu kobiecej narracji historycznej. Małgorzata Radkiewicz, Refleksje zza kamery. Reżyserki o kinie i formie filmowej, Muzeum Sztuki Nowoczesnej w Warszawie, Wydawnictwo Uniwersytetu Jagiellońskiego, Fundacja Okonakino, Warszawa, Kraków 2022, ss. 264.
Pub Date : 2023-03-30 DOI: 10.4467/20843860pk.23.007.17850
Marta Stańczyk
The review is devoted to the book by Małgorzata Radkiewicz Refleksje zza kamery. Reżyserki o kinie i formie filmowej [Reflections from behind the Camera: Women Directors on Cinema and Film Form]. The publication showcases a deeply feminist frame of reference not only in its theme which is women directors’ theoretical oeuvre, from Alice Guy-Blaché to Alexandra Juhasz, but also in its concept. The author presents their reflections on cinema in the broader context of changing social norms, cinematic language, feminist philosophy and other minority discourses. The review highlights the importance of translating and publishing those reflections in Polish, however it pays particular attention to the author’s proposal of alternative form of scientific discourse and historical narrative. Radkiewicz changes traditional structure – which, typically, is linear, final, unified and focus on progress and hierarchization – for more open, horizontal and activating. That approach led to placing the book as a parallel to feminist, avant-garde endeavors of presented women directors. It could be positioned as a new narrative mode in the process of (re)writing film history by women and other minorities and inspire future relocations.
这篇评论是专门针对Małgorzata Radkiewicz Refleksje zza kamery的书的。Reżyserki o kinie i formie filmowej[镜头背后的反思:女性导演对电影和电影形式的思考]。该出版物不仅在其主题(从Alice guy - blach到Alexandra Juhasz的女性导演的理论作品)上展示了一个深刻的女权主义参考框架,而且在其概念上也展示了一个深刻的女权主义参考框架。作者在不断变化的社会规范、电影语言、女权主义哲学和其他少数民族话语的更广泛背景下提出了他们对电影的思考。这篇评论强调了波兰语翻译和出版这些反思的重要性,但它特别关注作者提出的科学话语和历史叙事的替代形式。Radkiewicz改变了传统的线性、最终、统一、注重进步和分层的结构,使之更加开放、水平和活跃。这种方法导致将这本书与女性导演的女权主义和先锋派努力相提并论。它可以被定位为女性和其他少数民族在(重新)书写电影史过程中的一种新的叙事模式,并对未来的重新定位产生启发。
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引用次数: 0
Memory of War. Remembering Hollywood’s Vietnam War in Call of Duty: Black Ops 《战争的记忆》在《使命召唤:黑色行动》中回忆好莱坞的越南战争
Pub Date : 2023-03-30 DOI: 10.4467/20843860pk.23.003.17846
Anh-Thu Nguyen
The Call of Duty franchise is well-known for its setting in historical warfare and is frequently discussed under the themes of realism or its treatment of history. Whilst this is helpful to address historical inconsistencies and the often-resulting lack of critical perspective on warfare in general, it is perhaps more accurate to refer to Call of Duty as a site of memory. Call of Duty is not interested in an accurate historical retelling of war, rather, it is to evoke cultural memories usually produced by (popular) media related to specific events, repurposing them for entertainment. By analysing Call of Duty: Black Ops Cold War through its Vietnam War missions, I explore the formal and narrative qualities of the game to examine what the game chooses to remember. Two key aspects can be found in its gameplay: the game takes on an exclusive U.S.-American perspective on the Vietnam War. Second, Vietnamese characters are largely absent or only exist as enemies. I will then discuss the game’s use of the Vietnam War as a catharsis for its storytelling and how it fails to live up to any subversive potential it has concerning its treatment of memory. This essay will then conclude with final thoughts on how the Vietnam War is remembered in international politics and how its remembrance is also related to intergenerational divides within the Vietnamese diaspora.
《使命召唤》系列以历史战争为背景而闻名,经常以现实主义或其对历史的处理为主题进行讨论。虽然这有助于解决历史的不一致性,以及通常导致对战争缺乏批判性视角的问题,但将《使命召唤》称为记忆场所或许更为准确。《使命召唤》对准确地复述战争历史并不感兴趣,相反,它是为了唤起通常由(流行)媒体产生的与特定事件相关的文化记忆,并将其重新用于娱乐。通过分析《使命召唤:黑色行动:冷战》中的越南战争任务,我探讨了游戏的形式和叙事品质,以检验游戏选择记住的内容。在游戏玩法中可以发现两个关键方面:游戏采用了美国对越南战争的独家视角;其次,越南角色基本上不存在,或者只是作为敌人存在。然后我将讨论游戏使用越南战争作为故事叙述的宣泄,以及它如何未能实现其在处理记忆方面的颠覆性潜力。这篇文章最后将总结越南战争是如何在国际政治中被记住的,以及它的记忆是如何与越南侨民的代际分歧相关的。
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引用次数: 0
From Albums to Musicking Assemblages: Virtual Structures and Topological Unfoldings in Toyomu’s “Imagining” of Kanye West’s The Life of Pablo 从专辑到音乐组合:富茂对坎耶·韦斯特的《巴勃罗的一生》的“想象”中的虚拟结构和拓扑展开
Pub Date : 2023-03-30 DOI: 10.4467/20843860pk.23.004.17847
Artur Szarecki
In 2016, Kanye West released his highly anticipated eight album, The Life of Pablo, on a streaming platform Deezer, where it remained exclusively available for over a month. This prevented audiences from several countries, where the service has not yet launched, from accessing it. As a result, Japanese electronic music producer, Toyomu, created his own version of the album, without hearing the original. Browsing the internet, he tracked every sample and every lyric that West used, and assembled them into an original work, comprising an “imagining” of how The Life of Pablo could have sounded. His endeavor, while ingrained in the cultural logic of remix, goes beyond it, comprising a unique musical entity that eludes easy categorization. Therefore, the paper employs Manuel DeLanda’s assemblage theory to account for its specificity. This entails a shift from a relational and processual understanding of the musical album, already implied in West’s work, to mapping the topological structure of possibilities, defined by invariants and attractors, that hints at real but not actual vectors of its becoming. As such, Toyomu’s undertaking provides an opportunity to further rethink the concept of the musical album in a time when it was already decentered by the transition from material objects to digital data.
2016年,坎耶·韦斯特在流媒体平台Deezer上发布了他备受期待的八张专辑《The Life of Pablo》,并在该平台独家发行了一个多月。这使得一些国家的用户无法访问该服务,而这些国家的用户还没有推出这项服务。结果,日本电子音乐制作人Toyomu在没有听到原版的情况下,制作了他自己的版本。浏览互联网,他追踪了韦斯特使用的每一个样本和每一个歌词,并将它们组合成一个原创作品,包括对《巴勃罗的一生》听起来可能是什么样子的“想象”。他的努力虽然植根于remix的文化逻辑,但却超越了它,构成了一种独特的音乐实体,无法轻易归类。因此,本文采用Manuel DeLanda的集合理论来解释其特殊性。这需要从对音乐专辑的关系和过程理解的转变,已经隐含在韦斯特的作品中,到映射可能性的拓扑结构,由不变量和吸引子定义,暗示了真实的,但不是实际的向量。因此,Toyomu的事业提供了一个机会,进一步重新思考音乐专辑的概念,当它已经被从物质对象到数字数据的过渡所分散。
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引用次数: 0
How sound is experiences in deaf/Deaf practice? On sound emancipatory strategies 在聋人/聋人实践中,声音是怎样的?论健全的解放战略
Pub Date : 2023-03-01 DOI: 10.4467/20843860pk.23.001.17844
Magdalena Dunaj
The paper aims to answer how deaf/Deaf practice inferred the sound. The author analyses the Reddit discussion on deaf experiences with sound. Using Steven Feld’s concept of acoustemology, which is one’s sonic way of knowing and being in the world, the author discusses the meaning of sound in the deaf/Deaf epistemological experience. The sound is a pharmacon. For the deaf/Deaf, the sound brings both positive and negative, expected and unexpected. Ernesto Laclau’s term of emancipation is used to explain how d/Deaf sound practices entail this ambiguity. The author describes four sound emancipatory strategies: expect unexpected, sound management, fabrication of sound, and semiosis. The deafness condition breaks down the perfect ideas of sound and silence, placing us in the sound continuum. Sound is perceivable, but the significance it brings is sometimes debatable. Sound emancipatory strategies enable d/Deaf people to tell their own story of experiencing sound, take control over the sound and show their expertise on it, free their hearing process, and break speech hegemony.
本文旨在回答聋人/聋人练习如何推断声音。作者分析了Reddit上关于聋人声音体验的讨论。作者运用史蒂芬·菲尔德的声学概念,即一个人以声音的方式认识和存在于世界,探讨了聋人/聋人认识论经验中声音的意义。声音是一种药。对于聋哑人来说,声音带来积极和消极,期望和意外。埃内斯托·拉克劳(Ernesto Laclau)的“解放”一词被用来解释d/Deaf的声音实践如何导致这种模糊性。作者描述了四种声音解放策略:期待意外、声音管理、声音制造、符号化。耳聋打破了声音和沉默的完美概念,将我们置于声音的连续体中。声音是可以感知的,但它带来的意义有时是有争议的。声音解放策略使聋人能够讲述自己体验声音的故事,掌握声音并展示自己对声音的专业知识,解放自己的听力过程,打破言语霸权。
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引用次数: 0
Unravelling Narratives of Empire in No Man’s Sky 揭开《无人区》中的帝国叙事
Pub Date : 2022-12-30 DOI: 10.4467/20843860pk.22.039.17093
K. Clark
Many scholars have looked at how players engage with games of Empire in ways that both reproduce and subvert capitalist-colonial narratives of resource accumulation, war, and conquest. This article examines the 2016 release of No Man’s Sky, and how the colonial conquest and resource gathering that are central to the gameplay quickly unravelled as players spent time with the game. Firstly, this article will explore how the release of No Man’s Sky initially replicated the myth of terra nullius, as well as an understanding of the environment as resources-in-waiting. This is contrasted with the fact that No Man’s Sky did not replicate the traditional triple-A structure of action, which leads the player to a playthrough that focuses on ‘bearing witness’ to the environment, rather than harvesting its resources to strengthen the player-character and progress through the game. However, major updates to No Man’s Sky fundamentally changed the player’s relationship to the game-world, further obscuring many of the moments of speculation that the initial release provided. This analysis demonstrates how games of Empire can create affective experiences that can inadvertently challenge the very narratives that they are enmeshed in. These moments are fleeting but provide a valuable insight into the role that games play in the crises of the Anthropocene.
许多学者研究了玩家如何以再现和颠覆资源积累、战争和征服等资本主义殖民叙事的方式参与帝国游戏。本文研究了 2016 年发布的《无人天空》,以及作为游戏核心玩法的殖民征服和资源采集是如何随着玩家在游戏中时间的推移而迅速瓦解的。首先,本文将探讨《无主之地》的发布如何在初期复制了无主之地的神话,以及将环境理解为等待中的资源。与此形成鲜明对比的是,《无人的天空》并没有复制传统的三A动作游戏结构,这导致玩家在游戏过程中专注于 "见证 "环境,而不是收获环境资源来强化玩家角色和推进游戏进程。然而,《无人天空》的重大更新从根本上改变了玩家与游戏世界的关系,进一步掩盖了最初发布时所提供的许多猜测时刻。这一分析表明了《帝国》游戏如何能够创造出情感体验,并在不经意间挑战游戏本身的叙事。这些瞬间稍纵即逝,但却为我们深入了解游戏在人类世危机中所扮演的角色提供了宝贵的视角。
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引用次数: 0
W poszukiwaniu zaangażowanego kulturoznawstwa? Sprawozdanie z IV Zjazdu Polskiego Towarzystwa Kulturoznawczego (Wrocław, 15–17 września 2022 roku)
Pub Date : 2022-12-30 DOI: 10.4467/20843860pk.22.042.17096
K. Sikorska
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引用次数: 0
“Too Easy” or “Too Much”? (Re)imagining Protagonistic Enhancement through Machine Vision in Video Games “太容易”还是“太多”?(重新)通过电子游戏中的机器视觉来想象主角的增强
Pub Date : 2022-12-30 DOI: 10.4467/20843860pk.22.037.17091
Ragnhild Solberg
This article explores how video games that valorize techno-masculine imaginaries of superhuman domination also present humans as depending on computational and non-human agencies to succeed. Through close readings of Call of Duty 4: Modern Warfare (Infinity Ward 2007) and Cyberpunk 2077 (CD Projekt Red 2020), I illustrate the close connection between machine vision and militarized visions of domination and agency. The analyses show how beyond-human vision enhances player characters and players, complicating the human-machine relationship in the process. Video games can build on and feed into anthropocentric and masculinist narratives. This article demonstrates how even when the technology appears to support these fantasies of human control, there are moments when it takes over or otherwise disrupts the god-like interventions of the human. By analyzing failures, glitches, and the consistent machine participation in the assemblage, I unpack explicit cases of machine agency as part of a broader assemblage, revealing a more complex power dynamics than those that are initially presented to the player. In doing so, this article demonstrates how the superhuman machine vision was never exclusively human to begin with. Understanding vision and agency as shared with machines both enables and complicates fantasies of dominance in video games.
这篇文章探讨了电子游戏是如何将技术男性化的超人统治想象变为现实,并将人类呈现为依赖计算和非人类机构来取得成功的。通过仔细阅读《使命召唤4:现代战争》(Infinity Ward 2007)和《赛博朋克2077》(CD Projekt Red 2020),我阐述了机器视觉与统治和代理的军事化愿景之间的密切联系。分析表明,超越人类的视觉如何增强玩家角色和玩家,并在此过程中使人机关系复杂化。电子游戏可以建立在人类中心主义和男性主义叙事的基础上。这篇文章展示了即使技术似乎支持这些人类控制的幻想,也有一些时刻它会接管或以其他方式破坏人类的上帝般的干预。通过分析组合中的故障、小故障和一致的机器参与,我将机器代理作为更广泛组合的一部分进行了明确的分析,揭示了比最初呈现给玩家的更复杂的权力动态。在此过程中,本文演示了超人机器视觉如何从一开始就不完全是人类的。理解与机器共享的视觉和代理,既使电子游戏中的统治幻想变得可能,也使其变得复杂。
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引用次数: 1
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