从沙因到斯金:《炮弹休克》之后的女权主义批评

IF 0.3 0 RELIGION
Davide Panagia
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引用次数: 0

摘要

在政治理论的子领域,或者在其学科系政治学的走廊里,人们谈论“政治评论家”的方式与谈论文学评论家或美学批评作为专业研究活动的方式不同。政治学课程不包括“政治批评”作为一个主题,新毕业的博士可能不会考虑(或被建议不要考虑)在求职申请中将“政治评论”列为研究专业领域。更值得注意的是,“批评”并不是西方政治理论传统概念的一部分,本质上是有争议的或其他的。在各种各样的政治思想手册和百科全书中,人们可以找到一本用形容词“批判性”(如批判性理论、批判性种族理论或批判性现实主义)限定的主题简编,但不包括批评或政治批评。值得庆幸的是,Bonnie Honig是一个不同类型的政治理论家。霍尼格以其在痛苦政治和激进民主理论方面的学术成就为基础(应该说她对这一研究领域的“创新”或“发明”,因为在她出版《政治理论与政治的位移》之前,这一领域还没有真正具体化),近年来,她持续关注影响政治理论问题的美学问题,更具体地说,仍然是关于政治批评的实践、活动和媒体。她是一位政治评论家;更确切地说,她是一位女权主义政治评论家。她依靠古希腊女性、现代(哥特式)小说、当代电影和电视,创新女权主义政治批评的实践,而这些实践不能归结为不矛盾法则的煤气灯。霍尼格的学术(除其他外)提供了一种女权主义政治批评的经典,这种批评植根于这样一种自负,即政治痛苦不仅使我们的政治多元化,而且使我们的批判情感多元化,因此,将非矛盾的假定无误性作为批判思维的先验,在政治和美学上总是感觉不足。霍尼格自己的批判倾向,我希望在这些页面中解开,是她的主要贡献之一——在她的作品中,更广泛地说,但尤其是在《贝壳休克》中——因为它提供了关于女性、政治、批评、,权威:非矛盾律的认识论特权不适用于女权主义政治批评,因为女性是父权世界中的一个矛盾体,在父权世界中,性别是“权力的机器”
本文章由计算机程序翻译,如有差异,请以英文原文为准。
From Schein to Skein: Feminist Criticism After Shell-Shocked
In the subfield of political theory, or in the hallways of its disciplinary home department political science, one does not speak of “the political critic” in the ways in which one speaks of literary critics or aesthetic criticism as professional research activities. Political science course offerings do not include “political criticism” as a topic, and newly graduated PhDs would likely not consider (or be advised to not consider) listing “political criticism” as an area of research expertise in their job applications. More notably, “criticism” is not part of the canon of concepts of theWestern tradition of political theory, essentially contested or otherwise. In the various handbooks and encyclopedia of political thought one has on hand one finds a compendium of topics qualified with the adjective “critical” (as in critical theory, or critical race theory, or critical realism) but not criticism or political criticism. Thankfully, Bonnie Honig is a different type of political theorist. Building on her scholarship in agonistic politics and radical democratic theory (one should say her “innovation” or “invention” of this field of research, as it hadn’t really concretized prior to her publishing Political Theory and the Displacement of Politics), Honig has in recent years given sustained attention to aesthetic questions that weigh upon issues of political theory, and more specifically still on the practices, activities, and media of political criticism. She is a political critic; more precisely she is a feminist political critic. She leans on ancient Greek women, on the modern (gothic) novel, and on contemporary cinema and television, to innovate practices of feminist political criticism that are not reducible to the gaslighting cant of the law of non-contradiction. Honig’s scholarship offers (among many things) a canon of feminist political criticism rooted in the conceit that political agonism pluralizes not just our politics, but our critical sensibilities such that an appeal to the presumed infallibility of non-contradiction as an apriori of critical thinking will always feel politically and aesthetically inadequate. Honig’s own critical dispositif, that I wish to unravel in these pages, is one of her major contributions – in her work more generally, but especially in Shell Shocked – because it offers an important insight about the relationship between women, politics, criticism, and authority: the epistemological privilege of the law of non-contradiction can’t work for feminist political criticism because women are a contradiction in a patriarchal world where gender is “an apparatus of power.”
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Political Theology
Political Theology RELIGION-
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