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SPECTRAL MEMORIES: AESTHETIC RESPONSES TO THE FINANCIAL CRASH IN ICELAND 2008 幽灵般的记忆:对2008年冰岛金融危机的审美反应
Q3 Arts and Humanities Pub Date : 2020-11-22 DOI: 10.7146/nja.v29i60.122844
Vera Knútsdóttir
In October 2008, one of the largest bank crashes in history struck Iceland, a country of three hundred and thirty five thousand inhab-itants. The aim of the article is to examine two cultural responses to the crash and the crisis that followed. More precisely, the aim is to analyse how the creation of the haunted house in I Remember You, a crash-horror story by crime writer Yrsa Sigurðardóttir, as well as the spectral half-built houses portrayed by visual artist Guðjón Ketilsson refer quite directly, yet spectrally, to the period. The spec-tral themes of the two works give the opportunity to discuss the moment following the crash as a moment of haunting—but who is haunted and by whom?
2008年10月,历史上最大的银行崩溃之一袭击了冰岛,一个拥有33.5万居民的国家。这篇文章的目的是考察对金融危机和随后的危机的两种文化反应。更准确地说,我们的目的是分析犯罪作家Yrsa Sigurðardóttir所写的恐怖故事《我记得你》中鬼屋的创作,以及视觉艺术家Guðjón Ketilsson所描绘的幽灵般的半建成房屋是如何直接地、幽灵般地与那个时代联系在一起的。这两件作品的特殊主题让我们有机会讨论坠机后的那一刻,作为一个闹鬼的时刻——但谁在闹鬼,谁在闹鬼?
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引用次数: 1
SENSIBILITY AND SEMIO-CAPITALISM – A BODILY EXPERIENCE OF CRISIS IN URSULA ANDKJÆR OLSEN’S THE CRISIS NOTEBOOKS 感性与半资本主义——乌苏拉andkjÆr奥尔森危机笔记中的一种对危机的身体体验
Q3 Arts and Humanities Pub Date : 2020-11-22 DOI: 10.7146/nja.v29i60.122845
Emma Sofie Brogaard Jespersen
In The Uprising: On Poetry and Finance (2012), Franco ‘Bifo’ Berardi unfolds a political and clinical diagnosis of contemporary society, stating that the crisis we experience today is a permanent state of absent social autonomy and political agency. This crisis is not solely economic but is caused by semio-capitalism impacting all spheres of human life, affecting sensibility in particular—the linguistic and physical-sensuous link between the individual and the world. Taking up the term sensibility as a bodily basis of experience and as an aesthetic notion, in this article I will explore the relation between individual and collective bodies, the crisis as a suspension of change, and literature, focusing on the Danish poet Ursula Andkjær Olsen’s 2017 lunatic and fragmented novel of love and economy The Crisis Notebooks, but also with reference to some of her other work(s). I argue that the bodily experience of crisis, as expressed in this novel, leads to an inhibited social sensibility but also, paradoxically, to a radical openness towards the world. With reference to the Danish literary scholar Anne Fastrup’s interpretation of French vitalism’s idea of sensibility in The Movement of Sensibility (2007), I suggest that a more ambiguous, material notion of both a constructive and a destructive sensibility is crucial for its understanding, and hence—for an understanding of the relationship between body and crisis as expressed in The Crisis Notebooks. Finally, I suggest that an aesthetic notion of sensibility can provide a prism through which relations between today’s financial mechanisms and a sociocultural experience of crisis are rendered visible—if not sensuous—and it is from here that alternatives to the crisis can be found, felt, formulated or fabulated.
在《起义:论诗歌与金融》(2012)一书中,弗朗哥·“比佛”·贝拉尔迪对当代社会进行了政治和临床诊断,指出我们今天所经历的危机是一种长期缺乏社会自治和政治机构的状态。这场危机不仅是经济上的,而且是由影响人类生活各个领域的半资本主义造成的,特别是影响了个人与世界之间的语言和身体感官联系。在本文中,我将把“感性”一词作为经验的身体基础和审美概念,探讨个体和集体之间的关系,作为变化暂停的危机,以及文学,重点关注丹麦诗人厄休拉·奥尔森(Ursula andkk ær Olsen) 2017年疯狂而支离破碎的爱情和经济小说《危机笔记》(the crisis Notebooks),但也参考了她的一些其他作品。我认为,正如这部小说所表达的那样,对危机的身体体验导致了一种压抑的社会情感,但矛盾的是,也导致了对世界的彻底开放。参考丹麦文学学者安妮·法斯特鲁普(Anne Fastrup)在《感性运动》(2007)中对法国活力主义感性思想的解释,我认为一个更模糊、更物质的建设性和破坏性感性概念对于理解它至关重要,因此对于理解《危机笔记》中所表达的身体与危机之间的关系至关重要。最后,我认为感性的美学概念可以提供一个棱镜,通过这个棱镜,今天的金融机制和危机的社会文化经验之间的关系被呈现出来——如果不是感性的——并且从这里可以找到、感觉、制定或虚构危机的替代方案。
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引用次数: 0
THE RIGHT TOOLS FOR THE JOB: THE RIGHT JOB FOR OUR TOOLS 适合工作的工具:适合工作的工具
Q3 Arts and Humanities Pub Date : 2020-11-20 DOI: 10.7146/nja.v29i60.122834
M. Poovey
This article ponders the questions of why so many literary scholars want to bring literary and economic issues together now, and why it seems so difficult to establish a genuinely cross-disciplinary con-versation.1 Offering two examples of approaches to the intersec-tion of literary and economic issues that privilege methodology over themes, history, or theory—a very brief genealogy of the concept of a national economy and an equally brief analysis of derivatives—the article calls for an ongoing reflection on whether literary and cultural scholars have the right tools for the job and, conversely, the right job for our tools.
这篇文章思考了为什么现在有那么多文学学者想把文学和经济问题结合在一起,为什么建立一个真正的跨学科对话似乎如此困难本文提供了两个研究文学和经济问题的方法的例子,这些方法将方法论置于主题、历史或理论之上——一个非常简短的国民经济概念谱系和一个同样简短的衍生品分析——这篇文章呼吁人们持续反思文学和文化学者是否有合适的工具来完成这项工作,反过来,是否有合适的工具来完成我们的工作。
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引用次数: 0
INTRODUCTION: AESTHETICS OF FINANCE 引言:金融美学
Q3 Arts and Humanities Pub Date : 2020-11-20 DOI: 10.7146/nja.v29i60.122836
Torsten Andreasen, M. Frantzen, Frederik Tygstrup
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引用次数: 0
EXPLORATIONS OF THE LANDSCAPE 探索风景
Q3 Arts and Humanities Pub Date : 2020-05-20 DOI: 10.7146/nja.v29i59.120477
Z. Somhegyi
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引用次数: 0
INTRODUCTION 引言
Q3 Arts and Humanities Pub Date : 2020-05-20 DOI: 10.7146/nja.v29i59.120473
J. Lund
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引用次数: 0
MONOLITH IN A HOLLOW: PALEOFUTURISM AND EARTH ART IN STANLEY KUBRICK’S 2001: A SPACE ODYSSEY 中空的巨石:斯坦利·库布里克的《2001太空漫游》中的古未来主义和地球艺术
Q3 Arts and Humanities Pub Date : 2020-05-20 DOI: 10.7146/nja.v29i59.120470
Jacob Wamberg
This article analyses 2001 in terms of what I term paleofuturism. Fusing deep future and deep past, this cyclical figure reconciles rational machinic intelligence with diverse repressed temporal layers: archaic cultures, the embryonic state of individuals, and bygone biological and geological eras. In 2001, paleofuturism is nourished by Nietzsche’s Ubermensch of the future, reborn as a child, and by Jungian ideas of individuation, the reconciliation with the shadow of the collective unconscious that leads to the black cosmos itself. Further paleofuturist contexts for 2001 are explored in the so-called “ancient astronaut thesis” of science fiction, speculative science, and pseudo-science. Finally, in minimalism and earth art of the late 1960s we meet a structural parallel to 2001’s bypassing of the organic human body, one that bridges the inorganic entropic realities of deep future and deep past.
本文从古未来主义的角度分析了2001年。这个循环的图形融合了深刻的未来和深刻的过去,将理性的机器智能与各种被压抑的时间层调和起来:古代文化、个体的萌芽状态、过去的生物和地质时代。2001年,古未来主义得到了尼采关于未来的超人的滋养,他像一个孩子一样重生,还有荣格的个体化思想,与集体无意识的阴影和解,导致了黑暗的宇宙本身。在科幻小说、投机科学和伪科学的所谓“古代宇航员论文”中,进一步探讨了2001年的古未来主义背景。最后,在20世纪60年代末的极简主义和大地艺术中,我们遇到了一种结构上的平行,与2001年对有机人体的绕过,一种连接无机熵现实的桥梁,即深刻的未来和深刻的过去。
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引用次数: 0
AN AESTHETICS OF THE METAINTERFACE 元界面美学
Q3 Arts and Humanities Pub Date : 2020-05-20 DOI: 10.7146/nja.v29i59.120475
Alex Fleck
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引用次数: 0
WINCKELMANN’S APOLLO AND THE PHYSIOGNOMY OF RACE 温克尔曼的《阿波罗》和种族的面相
Q3 Arts and Humanities Pub Date : 2020-05-20 DOI: 10.7146/nja.v29i59.120469
Lasse Hodne
The taste for classical art that induced museums in the West to acquire masterpieces from ancient Greece and Rome for their collections was stimulated largely by the writings of Johann Joachim Winckelmann. In the past decade, a number of articles have claimed that Winckelmann’s glorification of marble statues representing the white, male body promotes notions of white supremacy. The present article challenges this view by examining theories prevalent in the eighteenth century (especially climate theory) that affected Winckelmann’s views on race. Through an examination of different types of classicism, the article also seeks to demonstrate that Winckelmann’s aesthetics were opposed to the eclectic use of ancient models typical of the fascist regimes of the twentieth century.
约翰·约阿希姆·温克尔曼(Johann Joachim Winckelmann)的作品在很大程度上激发了西方博物馆对古典艺术的兴趣,促使它们从古希腊和罗马获得杰作作为藏品。在过去的十年里,许多文章声称,温克尔曼对代表白人男性身体的大理石雕像的赞美宣扬了白人至上的观念。本文通过考察18世纪流行的影响温克尔曼种族观的理论(尤其是气候理论)来挑战这一观点。通过对不同类型的古典主义的考察,本文还试图证明温克尔曼的美学反对对二十世纪法西斯政权典型的古代模式的折衷使用。
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引用次数: 0
DIGITAL MUSIC USE AS ECOLOGICAL THINKING: METADATA AND HISTORICISED LISTENING 数字音乐作为生态思维的运用:元数据与历史化聆听
Q3 Arts and Humanities Pub Date : 2020-05-20 DOI: 10.7146/nja.v29i59.120472
Andreas Helles Pedersen
In claiming that metadata possess the power to put historical awareness into the act of listening, this article examines digital music use as an aesthetic situation driven by potentialities of becoming. Working from a theoretical foundation amalgamating digital music archives and metadata as environments the article discusses Georgina Born’s notion of musical assemblages alongside the concept of virtuality, and by letting these meet the article argues for a musical assemblage built from sensibilities of becoming rather than layers of mediation. The inner workings of digital music use constitute an ecology in which recorded music history moves and reconnects, and this makes the historicity of recorded music be fluid, thus turning listening into a historicised action. In exemplifying this, the article discusses some of the strategic programming of metadata on the digital music platform Diskoteket, and through an analysis of sampled music, the prospects of recorded music’s historicity are shown as affective capacities.
在声称元数据具有将历史意识纳入聆听行为的能力时,本文将数字音乐作为一种由成为潜力驱动的美学情况进行了研究。本文从将数字音乐档案和元数据作为环境的理论基础出发,讨论了Georgina Born的音乐组合概念以及虚拟概念,并通过让这些概念满足文章主张的音乐组合建立在成为的敏感性之上,而不是中介层。数字音乐使用的内部运作构成了一个生态,在这个生态中,录制音乐的历史移动和重新连接,这使得录制音乐的历史性是流动的,从而将聆听变成一种历史性的行动。为了举例说明这一点,本文讨论了数字音乐平台Diskoteket上元数据的一些战略规划,并通过对采样音乐的分析,将录制音乐的历史性前景表现为情感能力。
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引用次数: 2
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Nordic Journal of Aesthetics
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