Dominican Futurism: The Speculative Use of Negative Aesthetics in the Work of Rita Indiana

IF 0.2 Q4 WOMENS STUDIES
Kristie Soares
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引用次数: 2

Abstract

Abstract:This article looks at Rita Indiana’s performance work and latest novel as an example of Dominican futurism. Dominican futurism, like its counterpart Afrofuturism, centers the Dominican body in a technologically enhanced future, positioning it within a speculative world in which Dominicans are the agents of change. This article argues that Indiana’s version of Dominican futurism engages with “negative aesthetics”—defined here as the aesthetics of disorientation, dystopia, and disgust. Negative aesthetics offer a way of staying with the pain and unrest of trauma in speculative texts. The author posits a lineage of negative aesthetics in the Dominican literary tradition, which we can trace back to the work of the Dominican pessimist writers in the late nineteenth and early twentieth centuries. While the writers articulating this outlook were invested in colonial attitudes such as anti-Blackness, however, Indiana puts forth a feminist and queer of color version that continues the aesthetic practice while also offering a radical departure by critiquing colonial and neocolonial categories. This article contends that in her Dominican futurism, Indiana pairs the speculative with negative aesthetics to point toward a future that is hopeful while being attentive to the trauma of the past and present.
多米尼加未来主义:消极美学在丽塔·印第安纳作品中的思辨运用
摘要:本文以丽塔·印第安纳的表演作品和最新小说为例,探讨多明尼加未来主义。多明尼加未来主义和其对应的非洲未来主义一样,将多明尼加机构置于一个技术增强的未来,将其定位在一个多米尼克人是变革推动者的投机世界中。这篇文章认为,印第安纳州版本的多明尼加未来主义涉及“负面美学”——在这里定义为迷失方向、反乌托邦和厌恶的美学。消极美学提供了一种在思辨文本中保持创伤的痛苦和不安的方式。作者在多明尼加文学传统中提出了一种消极美学的谱系,我们可以追溯到19世纪末和20世纪初多明尼加悲观主义作家的作品。然而,尽管阐明这一观点的作家们投入了反黑人等殖民主义态度,但印第安纳州提出了一个女权主义和有色人种酷儿的版本,该版本延续了美学实践,同时也通过批评殖民主义和新殖民主义类别提供了一种彻底的背离。本文认为,在她的多明尼加未来主义中,印第安纳将思辨与消极美学结合起来,指向一个充满希望的未来,同时关注过去和现在的创伤。
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
CiteScore
0.50
自引率
0.00%
发文量
24
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