禁忌与资本主义:当代资本主义中的乱伦、YouTube和亵渎

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY
Adrià Guardiola-Rius
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引用次数: 0

摘要

禁忌,作为被禁止者居住的空间,界定了社会中可思考的形式。弗洛伊德在《图腾与禁忌》中试图超越道德和习俗的“绝对命令”来进行解释。一个世纪后,YouTuber PrankInvasion(Chris Monroe饰)似乎延续了弗洛伊德的说法,对他有利。通过他最具争议的视频之一“亲吻我真正的妹妹恶作剧”,他向自己的追随者挑战,让他们完成一个特别有争议的挑战:亲吻自己的继妹妹。正是通过这些与道德和可接受的极限的接触,资本主义扩大了被殖民的领土,在其新的暴露价值下吸收了世俗。不可想象的,所谓的对教条的亵渎(在这种情况下,是对乱伦的禁忌),在所有仪式作为标准化消耗品的标准化下消失了。但正如阿甘本对亵渎的本质所警告的那样,在其新用途中,它与消费领域没有联系。PrankInvasion的情况并非如此。通过明显缺乏普通的道德限制,克里斯·门罗表达了他对资本主义最非凡的限制:经济增长的衷心依恋。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Taboo and capitalism: Of incest, YouTube and profanation in contemporary capitalism
Taboo, as a space where the prohibited resides, delimits the form of the thinkable in a society. Freud, in Totem and Taboo, attempted to trace an explanation beyond the ‘categorical imperative’ of morality and custom. A century later the YouTuber PrankInvasion (Chris Monroe) seems to continue Freud’s account to his advantage. Through ‘Kissing my actual sister prank’, one of his most controversial videos, he challenged his own followers to fulfil an especially controversial challenge: kiss his own stepsister. It is through these contacts with the limits of the moral, of the acceptable, that capitalism expands the colonized territory, absorbing the profane under its new exposure value. The unthinkable, the purported profanation of dogma (in this case, taboo of incest), disappears under the standardization of all rites as standardized consumable objects. But as Agamben warns about the nature of desecration it can not be related, in its new use, with the consumption realm. And that is not the case with PrankInvasion. Through the apparent absence of ordinary moral limits, Chris Monroe expresses his heartfelt attachment to the most extraordinary limit of capitalism: economic growth.
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来源期刊
Technoetic Arts
Technoetic Arts HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.60
自引率
0.00%
发文量
11
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