{"title":"蓝色人文与殖民主义的色彩","authors":"Susanne Ferwerda","doi":"10.1215/22011919-10943081","DOIUrl":null,"url":null,"abstract":"\n The cultural study of water has seen a prismatic shift toward the color blue. This is often articulated as a move away from the terrestrial focus of green ecologies and environmentalism, toward blue aquatic inquiries. What happens when green becomes blue and the blue humanities take shape under the umbrella of the environmental humanities? This article examines the blue humanities to argue that its blues address colonial inheritances and critique colonial desires. Blue has long appealed to the colonial imaginary; it drew European ships across the seas to mine blue pigment from Afghan rocks and raise indigo plantations on stolen land, with stolen labor. The article analyzes the lapis lazuli series by Dutch artist Pieter Paul Pothoven and the performance of the poem “Unity” by Aotearoa New Zealand poet Selina Tusitala Marsh. Pothoven’s work shows how blue analysis accounts for the fact that the color blue has built empires, taken lives, and altered environments. Marsh’s poetry and presence in the heart of the British Empire visualizes blue resistance against imperial power and the persistent defiance of colonization in the Pacific region. The article argues that blue transoceanic European and Pacific colonial connections become disarticulated in the blue humanities and their aquatic encounters.","PeriodicalId":46497,"journal":{"name":"Environmental Humanities","volume":null,"pages":null},"PeriodicalIF":1.2000,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Blue Humanities and the Color of Colonialism\",\"authors\":\"Susanne Ferwerda\",\"doi\":\"10.1215/22011919-10943081\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n The cultural study of water has seen a prismatic shift toward the color blue. This is often articulated as a move away from the terrestrial focus of green ecologies and environmentalism, toward blue aquatic inquiries. What happens when green becomes blue and the blue humanities take shape under the umbrella of the environmental humanities? This article examines the blue humanities to argue that its blues address colonial inheritances and critique colonial desires. Blue has long appealed to the colonial imaginary; it drew European ships across the seas to mine blue pigment from Afghan rocks and raise indigo plantations on stolen land, with stolen labor. The article analyzes the lapis lazuli series by Dutch artist Pieter Paul Pothoven and the performance of the poem “Unity” by Aotearoa New Zealand poet Selina Tusitala Marsh. Pothoven’s work shows how blue analysis accounts for the fact that the color blue has built empires, taken lives, and altered environments. Marsh’s poetry and presence in the heart of the British Empire visualizes blue resistance against imperial power and the persistent defiance of colonization in the Pacific region. The article argues that blue transoceanic European and Pacific colonial connections become disarticulated in the blue humanities and their aquatic encounters.\",\"PeriodicalId\":46497,\"journal\":{\"name\":\"Environmental Humanities\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":1.2000,\"publicationDate\":\"2024-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Environmental Humanities\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1215/22011919-10943081\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Environmental Humanities","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1215/22011919-10943081","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
摘要
对水的文化研究出现了向蓝色的多棱镜转变。这通常被表述为从关注陆地的绿色生态和环境主义转向蓝色的水生研究。当绿色变成蓝色,蓝色人文学科在环境人文学科的保护伞下成形时,会发生什么呢?本文通过对蓝色人文学科的研究,论证了蓝色人文学科对殖民遗产的处理和对殖民欲望的批判。长期以来,蓝色一直吸引着殖民想象;它吸引着欧洲船只漂洋过海,从阿富汗的岩石中开采蓝色颜料,并用偷来的劳动力在偷来的土地上建立蓝靛种植园。文章分析了荷兰艺术家皮特-保罗-波托文(Pieter Paul Pothoven)的青金石系列作品,以及奥特亚罗瓦新西兰诗人塞琳娜-图西塔拉-马什(Selina Tusitala Marsh)的诗作《团结》。Pothoven 的作品展示了对蓝色的分析是如何说明蓝色曾建立帝国、夺走生命和改变环境这一事实的。马什的诗歌和她在大英帝国中心的存在将蓝色对帝国权力的反抗和太平洋地区对殖民化的持续反抗形象化。文章认为,蓝色跨洋的欧洲和太平洋殖民联系在蓝色人文及其水上遭遇中变得支离破碎。
The cultural study of water has seen a prismatic shift toward the color blue. This is often articulated as a move away from the terrestrial focus of green ecologies and environmentalism, toward blue aquatic inquiries. What happens when green becomes blue and the blue humanities take shape under the umbrella of the environmental humanities? This article examines the blue humanities to argue that its blues address colonial inheritances and critique colonial desires. Blue has long appealed to the colonial imaginary; it drew European ships across the seas to mine blue pigment from Afghan rocks and raise indigo plantations on stolen land, with stolen labor. The article analyzes the lapis lazuli series by Dutch artist Pieter Paul Pothoven and the performance of the poem “Unity” by Aotearoa New Zealand poet Selina Tusitala Marsh. Pothoven’s work shows how blue analysis accounts for the fact that the color blue has built empires, taken lives, and altered environments. Marsh’s poetry and presence in the heart of the British Empire visualizes blue resistance against imperial power and the persistent defiance of colonization in the Pacific region. The article argues that blue transoceanic European and Pacific colonial connections become disarticulated in the blue humanities and their aquatic encounters.