后殖民思想与全球建筑史的出现

Kathleen James-Chakraborty
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摘要

在20世纪的最后25年里,后殖民理论通常与英国和法国在北非、中东和南亚从摩洛哥延伸到马来西亚的殖民地的殖民主义经历紧密联系在一起。在此期间,爱德华·赛义德的著作《东方主义》和早期的次等研究都挑战了西方学术在北非和亚洲研究中所谓的不带感情色彩的特点,证明了西方学术被种族和阶级偏见所扭曲的程度。尽管建筑历史学家花了十多年的时间来完全理解它的含义,但自20世纪90年代以来,很少有人文或社会科学学科被这种曾经激进的观点转变所彻底改变,它改变了人们对世界上几乎所有地区建筑的理解。无论他们是否完全参与了学术理论的阐述,这些理论最初的重点是对文学的分析,就赛义德而言,或者是对历史的分析,在次要研究中,21世纪的建筑史学家们对1500年后全球南方的建筑,殖民建筑及其与经济剥削的关系,特别是与国际现代主义有关的后独立建筑给予了前所未有的关注。以及殖民主义对大都市建筑的影响。虽然第二个和第三个问题长期以来一直与英国殖民者殖民地有关,但建筑史的全球转向意味着它们不能再与新的帝国主义综合历史隔离开来。
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Postcolonial Thought and the Emergence of Global Architectural Histories
In the last quarter of the 20th century theories of the postcolonial were usually closely tied to the experience of British and French colonialism in a band of North African, Middle Eastern, and South Asian colonies stretching from Morocco to Malaysia. During this period, Edward Said’s book Orientalism and the early work in subaltern studies both challenged the supposedly dispassionate character of Western scholarship on North Africa and Asia by demonstrating the degree to which it had been skewed by racial and class bias. Although architectural historians took more than a decade to fully absorb its implications, there are few humanities or social sciences disciplines that since the 1990s have been more thoroughly transformed by this once radical shift in perspective, which has changed how the architecture of almost all parts of the world is understood. Whether or not they fully engaged with the theories articulated in scholarship whose initial focus was the analysis of literature, in the case of Said, or of history, in that of subaltern studies, 21st-century architectural historians have paid unprecedented attention to the post-1500 architecture of the Global South, to colonial architecture and its relationship to economic exploitation, to post-independence architecture especially in relation to international modernisms, and to the impact that colonialism had on the architecture of the metropole. While the second and third of these had long been addressed in relation to British settler colonies, architectural history’s global turn meant that they could no longer be considered in isolation from new comprehensive histories of imperialism.
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