素食者出席:阅读吉本斯的动物

IF 0.3 3区 艺术学 0 ART Sculpture Journal Pub Date : 2020-12-01 DOI:10.3828/SJ.2020.29.3.8
E. Quinn
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引用次数: 0

摘要

当我们遇到格林长臂猿的作品时,我们发现自己置身于多种非人类动物的面前。然而,目前尚不清楚应该如何应对这些存在。一方面,对于约瑟芬·多诺万(Josephine Donovan)等生态女权主义学者来说,对动物死亡的审美化应该受到强烈抵制,通过超越表面的观察来恢复动物的具体存在:多诺万称之为“细心的爱”的一种观察模式。另一方面,重新阅读西蒙娜·韦尔的哲学思想(多诺万以此为前提进行论证)表明,关注他人需要一种彻底的超然模式。这两种立场以重要的方式说明了素食主义观众所面临的困境。借鉴杰森·爱德华兹之前的作品“纯素食观食者”,本文试图调和纯素食主义者对吉本斯描绘动物死亡的抵制,在它们自发地落入人类统治之下时,与吉本斯的工艺产生的审美愉悦。因此,我建议“素食阵营”作为一种手段,在不放弃快乐的情况下,调和自己在暴力系统中的不足和同谋。素食主义阵营被详细描述为一种美学,它承认人类的暴力,以及一个人在其中不可避免的位置,消解了美丽的素食主义灵魂的主观观念,关注无处不在的人类中心主义,在长臂猿的例子中,装饰装饰了动物可能被吃掉、穿着或献祭的场所。
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Vegan attendance: reading Gibbons’s animals
When we encounter the work of Grinling Gibbons, we find ourselves in the presence of multiple non-human animals. However, it is unclear how one should address these presences. On the one hand, for ecofeminist scholars such as Josephine Donovan, the aestheticization of animal death is to be vehemently resisted and the embodied presence of animals recovered by looking beyond the surface: a mode of looking that Donovan terms ‘attentive love’. On the other hand, a re-reading of the philosophical ideas of Simone Weil, upon which Donovan premises her argument, suggests that attention to others requires a mode of radical detachment. These two positions speak in important ways to the dilemmas faced by a vegan spectator. Drawing on Jason Edwards’s previous work on ‘the vegan viewer’, this article seeks to reconcile a vegan resistance to Gibbons’s depictions of animal death, in their spontaneous falling under human dominion, with the aesthetic pleasure generated by Gibbons’s craftmanship. I therefore propose ‘vegan camp’ as a means of reconciling oneself to insufficiency and complicity in systems of violence without renouncing pleasure. Vegan camp is detailed as an aesthetics that acknowledges the violence of humanity and one’s inescapable place within it, dissolving the subjective idea of the beautiful vegan soul to pay attention to the pervasive presence of an anthropocentrism that, in the case of Gibbons, decoratively adorns the sites at which animals might be eaten, worn, or offered up for sacrifice.
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