好怀旧/坏怀旧

IF 0.7 3区 艺术学 0 ART
Aggie Toppins
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引用次数: 0

摘要

摘要Tibor Kalman、J.Abbott Miller和Karrie Jacobs在《好历史/坏历史》(1991)一书中指出了平面设计史上的关键问题,同时谴责了对现代主义作品的模仿。当时,现代主义者和后现代主义者就史学和历史参考展开了激烈的辩论,但两个阵营的设计师都对怀旧不屑一顾。在《好历史/坏历史》的改写中,我用一个历史论点来批判规范历史的持久性,同时借鉴批判理论和非殖民化思想,认为怀旧可以为历史上被边缘化的行动者创造空间。Kalman、Miller和Jacobs理所当然地对设计历史的排除以及对其形式的无差别复制提出了质疑,但他们没有将历史引用确定为重新安排叙事的策略。通过用他们的文章作为我的电枢,我试图创作一本思想的重写本,通过对延续至今的怀旧冲动的审视,重新审视他们的论战。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Good Nostalgia/Bad Nostalgia
ABSTRACT In “Good History/Bad History” (1991), Tibor Kalman, J. Abbott Miller, and Karrie Jacobs identified critical issues in graphic design history while denouncing imitations of modernist works. At the time, modernists and postmodernists fiercely debated historiography and historical reference, but designers in both camps dismissed nostalgia. In this rewriting of “Good History/Bad History,” I use a historical argument to critique the persistence of canonical histories while drawing on critical theory and decolonial thought to argue that nostalgia can create space for historically marginalized actors. Kalman, Miller, and Jacobs rightfully found fault with design history’s exclusions as well as the indiscriminate copying of its forms, but they did not identify historical quotation as a strategy for rerouting narratives. By using their essay as the armature for mine, I attempt to create a palimpsest of thought that revisits their polemic with an examination of nostalgic impulses that continue to this day.
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来源期刊
CiteScore
1.80
自引率
0.00%
发文量
34
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