作为再存在的地球躯体:安娜·门迭塔的《超越生态女性主义界限的灵魂》

J. E. Jones
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摘要

摘要:本文以古巴裔美国艺术家安娜·门迪塔(Ana Mendieta)的作品《剪影》(Silueta, 1973 - 1980)为例,揭示了西方生态女性主义话语的局限,并想象了一种超越这些局限的人地关系。生态女性主义思想在女性主义研究中获得了牵引力,特别是考虑到新唯物主义的介入,这标志着它在环境危机时期思考非人类中心主义的女性主义的能力。我认识到生态女权主义的潜力,并探索它影响门迭塔实践的方式。然而,根据非殖民化的女权主义理论,我认为全球南方的背景和“[她]存在的殖民性”(Maldonaldo-Torres 2007)改变了门迭塔与生态女权主义项目的接触。我将门迭塔解读为一种“重新存在的美学”(Alban Achinte 2013),以回应非人性化的殖民背景,用她的艺术“回忆”(Anzaldúa 2015)她在美洲存在的否定维度。这样做揭示了一种坚持不懈的西方人文主义视角,这种视角支持主流生态女性主义对人类与地球关系的理解,同时也思考了非洲和土著宇宙观,Mendieta将其纳入了她的《西鲁塔斯》中,关于人类与地球关系的其他模式。正如门迭塔通过她的艺术记住她自己被殖民的存在,她帮助我们记住生态女权主义与地球的关系。
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Earth-Bodies as Re-Existence: Ana Mendieta's Siluetas Beyond the Limits of Ecofeminism
Abstract:This article engages the earth-body, or Silueta (Silhouette) (1973–80), works of Cuban-American artist Ana Mendieta to signal the Western limits of ecofeminist discourses and imagine a human-earthly relation beyond them. Ecofeminist thought has gained traction in feminist studies, especially given new materialist interventions which mark its ability to think a non-anthropocentric feminism in a time of environmental crisis. I recognize the potential of ecofeminism, and explore the ways it informed Mendieta's practice. Yet, drawing on decolonial feminist theory, I argue that a global South context and the "coloniality of [her] being" (Maldonaldo-Torres 2007) shifted Mendieta's engagement with the ecofeminist project. I read Mendieta as enacting an "aesthetics of re-existence" (Alban Achinte 2013) in response to a dehumanizing colonial context, using her art to "re-member" (Anzaldúa 2015) the negated dimensions of her existence in the Americas. Doing so reveals a persistent Western humanist lens that underwrites mainstream ecofeminist understandings of human-earthly relation, and also thinks with the African and Indigenous cosmologies Mendieta incorporated into her Siluetas about alternative modes of human relation to the earth. As Mendieta re-membered her own colonized being through her art, she helps us re-member ecofeminism's relation to the earth.
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