{"title":"“你的生命百分之百处于危险之中”:伤残者的大篷车和弱势者的国际主义","authors":"Eric Vázquez","doi":"10.1215/08992363-9435442","DOIUrl":null,"url":null,"abstract":"\n This essay examines the cultural politics of migrant caravans through video testimonies produced by Honduras’s Association of Returned Migrants with Disabilities (AMIREDIS). While the stated aim of the 2015 association-sponsored Caravan of the Mutilated involved raising transnational public awareness of the plight of Central American migrants, this essay argues that AMIREDIS’s testimonies and embodiments conjoin the savage risk confronting migrants with histories of imperialist expropriation and transnational financial processes in which migrants find themselves increasingly incorporated. In effect, their testimonies and embodiments invert the reparative logic of worker remittances—cash transfers often thought to be the objective of migration. Against the cruel economies of risk that decapacitated AMIREDIS members as laborers, their testimonies offer an internationalism of the vulnerable. This ethic of mutual vulnerability works against financial markets’ “pooled risks” and capitalism’s predilections to explain away its crippling eventualities with terms like “negative externalities” or “spillover effects.”","PeriodicalId":47901,"journal":{"name":"Public Culture","volume":" ","pages":""},"PeriodicalIF":1.1000,"publicationDate":"2022-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"“ Your Life Is One-Hundred-Percent at Risk”: The Caravan of the Mutilated and the Internationalism of the Vulnerable\",\"authors\":\"Eric Vázquez\",\"doi\":\"10.1215/08992363-9435442\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n This essay examines the cultural politics of migrant caravans through video testimonies produced by Honduras’s Association of Returned Migrants with Disabilities (AMIREDIS). While the stated aim of the 2015 association-sponsored Caravan of the Mutilated involved raising transnational public awareness of the plight of Central American migrants, this essay argues that AMIREDIS’s testimonies and embodiments conjoin the savage risk confronting migrants with histories of imperialist expropriation and transnational financial processes in which migrants find themselves increasingly incorporated. In effect, their testimonies and embodiments invert the reparative logic of worker remittances—cash transfers often thought to be the objective of migration. Against the cruel economies of risk that decapacitated AMIREDIS members as laborers, their testimonies offer an internationalism of the vulnerable. This ethic of mutual vulnerability works against financial markets’ “pooled risks” and capitalism’s predilections to explain away its crippling eventualities with terms like “negative externalities” or “spillover effects.”\",\"PeriodicalId\":47901,\"journal\":{\"name\":\"Public Culture\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":1.1000,\"publicationDate\":\"2022-03-18\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Public Culture\",\"FirstCategoryId\":\"90\",\"ListUrlMain\":\"https://doi.org/10.1215/08992363-9435442\",\"RegionNum\":2,\"RegionCategory\":\"社会学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"ANTHROPOLOGY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Public Culture","FirstCategoryId":"90","ListUrlMain":"https://doi.org/10.1215/08992363-9435442","RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"ANTHROPOLOGY","Score":null,"Total":0}
“ Your Life Is One-Hundred-Percent at Risk”: The Caravan of the Mutilated and the Internationalism of the Vulnerable
This essay examines the cultural politics of migrant caravans through video testimonies produced by Honduras’s Association of Returned Migrants with Disabilities (AMIREDIS). While the stated aim of the 2015 association-sponsored Caravan of the Mutilated involved raising transnational public awareness of the plight of Central American migrants, this essay argues that AMIREDIS’s testimonies and embodiments conjoin the savage risk confronting migrants with histories of imperialist expropriation and transnational financial processes in which migrants find themselves increasingly incorporated. In effect, their testimonies and embodiments invert the reparative logic of worker remittances—cash transfers often thought to be the objective of migration. Against the cruel economies of risk that decapacitated AMIREDIS members as laborers, their testimonies offer an internationalism of the vulnerable. This ethic of mutual vulnerability works against financial markets’ “pooled risks” and capitalism’s predilections to explain away its crippling eventualities with terms like “negative externalities” or “spillover effects.”
期刊介绍:
Public Culture is a peer-reviewed interdisciplinary journal of cultural studies, published three times a year—in January, May, and September. It is sponsored by the Department of Media, Culture, and Communication, NYU. A four-time CELJ award winner, Public Culture has been publishing field-defining ethnographies and analyses of the cultural politics of globalization for over thirty years. The journal provides a forum for the discussion of the places and occasions where cultural, social, and political differences emerge as public phenomena, manifested in everything from highly particular and localized events in popular or folk culture to global advertising, consumption, and information networks. Artists, activists, and scholars, both well-established and younger, from across the humanities and social sciences and around the world, present some of their most innovative and exciting work in the pages of Public Culture.