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引用次数: 0
摘要
在这本书中,圣克鲁斯加州大学艺术史和视觉文化教授t.j. Demos将人类世描述为一个抽象的概念,为理解人类提供了一种简化的方法。正如Demos所表明的那样,人类世这个标签似乎是资本主义的一个操纵性结构,旨在同化、控制和掩盖人类的差异本质。相反,艺术历史学家和文化评论家Demos将人类描绘成一个不愿表达自己为一体的差异振动场。通过这种坚持,Demos使我们看到资本主义利益是如何利用人类世的普遍逻辑,将资本家、公司和石化工业带来的环境破坏归咎于全人类。根据Demos的说法,有必要抵制通过参与像人类世这样的总体叙事来模糊企业责任,这种叙事将消费主义人类活动的当代归化视为环境退化的唯一肇事者。相反,我们必须关注环境活动家和无力的社区,他们反对环境退化,或成为环境退化的受害者,并在此过程中使人类中心主义站不住脚。在他的书的前两章中,Demos揭示了资本主义的策略,这些策略使人类世的概念得以流传。他展示了资本主义如何利用卫星引导的人类破坏生态活动的图像来牵连整个人类。这些图像为B o o o o o o o o o提供了基础
In this book T. J. Demos, professor of art history and visual culture at the University of California, Santa Cruz, characterizes the Anthropocene as an abstract concept that offers a reductive approach to understanding humanity. As Demos makes evident, the label Anthropocene seems to be a manipulative construct of capitalism designed to assimilate, control, and mask the differential nature of humanity. In contrast, Demos, an art historian and cultural critic, depicts humanity as a vibrating field of differences that is reluctant to express itself as oneness. Through this insistence Demos enables us to see how capitalist interests appropriate the universalizing logic of the Anthropocene to blame humanity in its entirety as responsible for environmental devastation brought about by the capitalists, the corporations, and the petrochemical industries. According to Demos, it is necessary to resist obscuring corporate accountability by partaking in an overarching narrative like the Anthropocene that posits contemporary naturalization of the consumerist human activity as sole perpetrator of environmental degradation. Instead, we must give attention to environmental activists and powerless communities that fight against, or stand as victims of environmental degradation, and in the process make anthropocentrism untenable. In the first two chapters of his book, Demos throws light on capitalist stratagems that keep the concept of the Anthropocene afloat. He shows how capitalism uses satelliteguided images of ecodestructive human activities to implicate the whole of humanity. These images provide the foundation for B o o k R e v i e w
期刊介绍:
Cultural Politics is an international, refereed journal that explores the global character and effects of contemporary culture and politics. Cultural Politics explores precisely what is cultural about politics and what is political about culture. Publishing across the arts, humanities, and social sciences, the journal welcomes articles from different political positions, cultural approaches, and geographical locations. Cultural Politics publishes work that analyzes how cultural identities, agencies and actors, political issues and conflicts, and global media are linked, characterized, examined, and resolved. In so doing, the journal supports the innovative study of established, embryonic, marginalized, or unexplored regions of cultural politics. Cultural Politics, while embodying the interdisciplinary coverage and discursive critical spirit of contemporary cultural studies, emphasizes how cultural theories and practices intersect with and elucidate analyses of political power. The journal invites articles on representation and visual culture; modernism and postmodernism; media, film, and communications; popular and elite art forms; the politics of production and consumption; language; ethics and religion; desire and psychoanalysis; art and aesthetics; the culture industry; technologies; academics and the academy; cities, architecture, and the spatial; global capitalism; Marxism; value and ideology; the military, weaponry, and war; power, authority, and institutions; global governance and democracy; political parties and social movements; human rights; community and cosmopolitanism; transnational activism and change; the global public sphere; the body; identity and performance; heterosexual, transsexual, lesbian, and gay sexualities; race, blackness, whiteness, and ethnicity; the social inequalities of the global and the local; patriarchy, feminism, and gender studies; postcolonialism; and political activism.