多元文化社会中的言论自由:现代和后现代时期欧洲的政治漫画

IF 0.3 0 PHILOSOPHY
Nives Rumenjak
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引用次数: 0

摘要

在现代文化和政治史、安全研究以及关于言论自由和国际人权法的辩论的交叉点上,本文旨在有助于更好地理解政治漫画及其在欧洲多元文化社会中的含义,这些社会在过去两个世纪中在地理、文化、规范、交流、政治和许多其他方面都发生了变化。通过比较19世纪晚期克罗地亚的塞尔维亚漫画和最近丹麦先知穆罕默德的漫画,文章揭示了现代和后现代欧洲漫画都以同样的歧视性叙事为中心:“文明冲突”和“宗教种族化”。由于在漫画中公开的种族刻板印象在后现代国际法规中被视为非法,传统的漫画歧视做法已经转向微妙的,“流动的”种族主义。这就将12幅丹麦漫画中的一些解读为欧洲穆斯林移民种族化的模糊策略(作为“恐怖分子”和“其他人”),同时也是仇恨言论,这在欧盟和欧洲委员会成员国是非法的。作者的结论是,目前欧洲和国际上大多数关于仇恨言论的规定,无论是针对线下媒体还是在线媒体,实际上都是保护言论自由的。虽然由于缺乏普遍接受的仇恨言论定义,对流动种族主义的真正明确监管可能在欧洲(和世界)仍然存在问题,但严格的法律法规和仇恨言论的不同定义都不会削弱政治漫画作为欧洲多元文化景观中可行的言论自由平台的作用。最终,削弱其生存能力的是视觉讽刺创作的长期缺乏多样性,这可以也应该反映欧洲社区、政治和社会的多元文化现实。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Freedom of expression in multicultural societies: Political cartooning in Europe in the modern and postmodern eras
Abstract At the intersection of modern cultural and political history, security studies and debates about freedom of expression and international human-rights law, this article aims to contribute to a better understanding of political cartooning and its implications in multicultural societies of Europe, which have shifted in a geographical, cultural, normative, communicational, political and many other respects through the last two centuries. Through comparison of the Serbian cartoons from late nineteenth-century Croatia and the recent Danish cartoons of the Prophet Mohammad, the article reveals that both modern and postmodern European cartoons have been centred around equally discriminatory narratives: a 'clash of civilizations' and 'racialization of religion'. Since open racial stereotyping in cartoons became illegal in the postmodern international regulations, traditional discriminatory practices of cartooning have shifted towards subtle, 'liquid' racism. This decodes some of the twelve Danish cartoons as ambiguous strategies of racialization of Muslim immigrants in Europe (as 'terrorists' and 'others') but also as hate speech which is illegal in the European Union, and member states of the Council of Europe. The author concludes that the most current European and international regulations of hate speech, whether concerning offline media or online media, actually protect free speech. While a truly clear-cut regulation of liquid racism might remain problematic in Europe (and the world) due to the lack of a universally accepted definition of hate speech, neither strict legal regulations nor different definitions of hate speech could diminish the role of political cartooning as a viable free speech platform in the multicultural landscape of Europe. Ultimately, what diminishes its viability is the enduring lack of diversity in the creation of visual satire, which could and should reflect the multicultural reality of communities, politics and societies in Europe.
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CiteScore
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