比较反档案创意:诺贝斯的《菲利普宗》!和拉·沃恩·贝尔的钱尼

IF 0.4 Q3 CULTURAL STUDIES Journal of Aesthetics & Culture Pub Date : 2021-01-01 DOI:10.1080/20004214.2021.1954418
Erica L. Johnson
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引用次数: 0

摘要

摘要本文对加勒比艺术和文学作品进行了比较分析,这两个作品共同致力于解决殖民档案的悖论。特立尼达裔加拿大作家菲利普创作了她的长诗《宗!来自一份18世纪的法律文件,该文件涉及在同名奴隶船上谋杀132名被奴役的非洲人。菲利普揭露了历史记录中非人的语言,尽管如此,她还是从中提取了人类经验的情感和诗意片段,她展示了艺术干预殖民档案的力量和必要性。菲利普的文学策略和贝尔在丹麦(现美国)维尔京群岛档案中的艺术干预之间的相似之处是惊人的,两者相互启发。该分析聚焦于贝尔的系列作品《我们生活在碎片中》,深入探讨了她与“Chaney”的合作,这是克里奥尔语中的一个术语,指的是从维尔京群岛土壤中冲刷出来的殖民时代的中国碎片,提醒人们丹麦在那里存在了数百年。Belle的艺术既反档案,也反规范,她直接向丹麦国家机构Kongelige瓷器制造厂或哥本哈根皇家瓷器厂发表演讲。这首诗和这件艺术品都聚焦于碎片的美学,无论是从殖民档案的碎片性及其许多盲点来看,还是从菲利普在页面上散布的失落叙事的碎片来看,还是贝尔将陶器碎片转化为绘画和陶瓷,唤起加勒比海身份的脱节本质。陷害宗!Chaney提出了“比较相对主义”的概念,这篇文章借鉴了文学和艺术历史方法,揭示了一种重要的跨学科方法来处理加勒比海档案和创造文化记忆。图形摘要
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Comparative counter-archival creativity: M. NourbeSe Philip’s Zong! and La Vaughn Belle’s Chaney
ABSTRACT This article presents a comparative analysis of works of Caribbean art and literature that engage in a mutual project of addressing the paradox of the colonial archive. Trinidadian-Canadian writer M. NourbeSe Philip crafted her long poem Zong! from an eighteenth-century legal document about the murder of 132 enslaved Africans onboard the slave ship of the same name. Exposing the dehumanizing language of historical record from which she nonetheless extracts affective and poetic scraps of human experience, Philip shows the power and necessity of artistic intervention in the colonial archive. The similarities between Philip’s literary strategies and Belle’s artistic interventions in the archive of the Danish (now U.S.) Virgin Islands are striking, and the two illuminate one another. Focusing on Belle’s series entitled Chaney (We Live in the Fragments), the analysis delves into her work with “chaney,” a Creole term for the colonial-era shards of china that wash out of the soil of the Virgin Islands as a reminder of the centuries-long Danish presence there. Belle’s art is both counter-archival and counter-canonical in her direct address to the national Danish institution of the Kongelige Porcelainsfabrik, or Royal Copenhagen Porcelain Factory. Both the poem and the artwork focus on the aesthetic of the fragment, whether in terms of the fragmented nature of the colonial archive with its many blind spots, the fragments of lost narrative that Philip scatters across the page, or the fragments of pottery that Belle transforms into paintings and ceramics that evoke the disjointed nature of Caribbean identity. Framing Zong! and Chaney with the notion of “comparative relativism,” the article draws on literary and art historical methodologies to reveal an important transdisciplinary approach to Caribbean archives and to the creation of cultural memory. GRAPHICAL ABSTRACT
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来源期刊
CiteScore
0.80
自引率
33.30%
发文量
15
审稿时长
14 weeks
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