Rethinking illness through performance: The gaze and the aesthetics of health in Charles Burns' Black Hole

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY
Mathieu Donner
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引用次数: 0

Abstract

Abstract Focusing on the relation Charles Burns' Black Hole weaves between identity, illness, performance and desire, this article reads in Black Hole a celebration of perversion as its own epistemic structure as it simultaneously exposes the possibilities opened up by performance for a re-articulation of abnormality as a positive identity whose own idiosyncratic value can, in turn, become a site of investment for new individual and cultural forms of desire. Narrating the story of a group of American teenagers whose community is prey to a sexually transmitted disease, which visibly transforms the body of its host through the addition of extraordinary appendages, Black Hole opens up the experience of sickness to the notion of performance. Multiplying the set of responses available to the subject, it promotes an idiosyncratic understanding of illness as an identity while cultivating an understanding of the latter as the solidification of a specific mode of performance. Exploring the ways in which the two contrary practices of dissimulation and voluntary spectacularization embodied by Burns' protagonists signal new possible spaces of resistance to the visual dominance of the medical apparatus and its identificatory discourse, this article exposes how the willful appropriation of the sick identity and its correlative self-objectification force the re-articulation of the unidirectional relation set up by the gaze as a bidirectional mode of address in which both actors participate in the constitution of desire. Reading in Burns' portrayal of Eliza a positive and active embrace of monstrosity as its own form of identity and a disruption of the traditional relationship posited by the dominant discourse between active observer and passive patient, this article explores the potential implicit in performance to challenge the traditional hegemonic discourse of medicine and public health and to articulate a new approach to desire and sexuality for and around the contagious monster.
通过表演重新思考疾病:查尔斯·伯恩斯的《黑洞》中健康的凝视与美学
摘要聚焦于查尔斯·伯恩斯的《黑洞》在身份、疾病、表现和欲望之间编织的关系,本文在《黑洞》中读到了对变态作为其自身认识结构的庆祝,同时也揭示了表现为将异常重新表述为积极身份而打开的可能性,成为新的个人和文化欲望形式的投资场所。《黑洞》讲述了一群美国青少年的故事,他们的社区是一种性传播疾病的猎物,这种疾病通过添加非凡的附属物明显改变了宿主的身体,它将疾病的体验与表演的概念相结合。它将受试者的一系列反应相乘,促进了对疾病作为一种身份的特殊理解,同时培养了对后者作为特定表现模式固化的理解。探索伯恩斯笔下主人公所体现的两种相反的伪装和自愿的壮观行为,以何种方式标志着对医疗器械及其识别话语的视觉主导权的新的可能反抗空间,本文揭示了对病态身份的故意挪用及其相关的自我客体化是如何迫使凝视建立的单向关系重新表述为一种双向的寻址模式,在这种寻址模式中,两个行动者都参与了欲望的构成。从伯恩斯对伊丽莎的刻画中可以看出,她积极主动地接受了怪物作为其自身身份的形式,并打破了由主动观察者和被动患者之间的主导话语所建立的传统关系,这篇文章探讨了表演中隐含的潜力,以挑战传统的医学和公共卫生霸权话语,并为这个具有传染性的怪物及其周围阐明一种新的欲望和性的方法。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Studies in Comics
Studies in Comics HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.60
自引率
0.00%
发文量
12
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