Will Maclean和Marian Leven的《来自下方的突变》:《暗礁和安岛的土地掠夺者》(2013)

IF 0.3 Q2 HISTORY
Lindsay Blair
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引用次数: 0

摘要

本文的重点是位于刘易斯岛Uig的纪念建筑An Súileachan,由Will Maclean和Marian Leven设计,石匠Ian Smith和James Crawford于2013年建造。这座纪念碑是一系列纪念造像中的第四座,旨在纪念刘易斯岛不同社区的人民反对地主控制的斗争。米歇尔·福柯在其对分类系统的激进重新解释《事物的秩序》中使用了这篇论文的标题“来自下方的突变”。福柯的大部分作品都关注权力关系,即权力对人们自由的行使方式。福柯作品的民主主旨与艺术家麦克莱恩和莱文的决心相类似,他们决心为1913年土地突袭时Reef人民无人代表的声音发声,更广泛地说,为人民反对他们在土地所有者手中受到的待遇及其在清场期间的因素的声音发声。在文章的各个阶段,不同文化理论家的见解 – Martin Heidegger、Gianni Vattimo、Mikhail Bakhtin和Jacques Rancière – 有助于在哲学训诫中为这一论点奠定基础。最后,本文试图确定纪念雕塑形式中政治和美学之间的联系的性质和程度,如An Súileachan。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
‘Mutations from Below’: The Land Raiders of Reef and An Sùileachan (2013) by Will Maclean and Marian Leven
The focus of this paper is the memorial structure, An Sùileachan, at Uig on the Island of Lewis which was designed by Will Maclean and Marian Leven and built by stonemasons Ian Smith and James Crawford in 2013. The memorial, dedicated to the Land Raiders of Reef, is the fourth in a series of memorial sculptures to commemorate the struggles of the people against landlord control in different communities on the Island of Lewis. The title for this paper ‘Mutations from Below’ is used by Michel Foucault in his radical re-interpretation of classification systems, The Order of Things. Much of Foucault's writing is concerned with power relations, the way that power is exercised over people's freedom. The democratic thrust of Foucault's writings is paralleled in the determination of the artists, Maclean and Leven, to give a voice to the unrepresented voices of the people of Reef at the time of the Land Raid in 1913 and more generally to the voices of the people in their opposition to their treatment at the hands of landowners and their factors during the Clearances. In successive stages of the essay, the insights of different cultural theorists – Martin Heidegger, Gianni Vattimo, Mikhail Bakhtin, and Jacques Rancière – help to ground the argument in philosophical exegesis. Finally, the paper seeks to determine the nature and extent of the connection between the political and the aesthetic within the memorial sculptural form as exemplified at An Sùileachan.
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