受伤的罂粟花:超纪念和美学干预

Q1 Arts and Humanities
D. Withers
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引用次数: 3

摘要

在英国,第一次世界大战一百周年纪念催生了新的国家资助的美学、文化和教育活动。红罂粟经常成为艺术干预的焦点,因为艺术家们创作的作品回应了一种象征的效力,在一种高度纪念的文化中,红罂粟已成为日常生活中无处不在的一部分。这件作品对红罂粟的美学和社会意义进行了个人反思,探讨了英国民族国家的公共政治如何穿越与符号对象的亲密关系。它对比了两种不同的红罂粟艺术方法——保罗·康明斯的《血染大地》和盖尔·里奇的《受伤的罂粟》——来论证艺术实践的重要性,这种艺术实践可以挑战和重新语境化那些已经积累了狭隘的、具有说服力的政治意义的熟悉的罂粟。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Wounding poppies: hyper-commemoration and aesthetic interventions
ABSTRACT In Britain the centenary of the First World War has generated new state-funded aesthetic, cultural, and educational activities. The red poppy has often been the focal point of artistic interventions, as artists have created works that respond to the potency of a symbol that has become, within a culture of hyper-commemoration, a ubiquitous part of everyday life. This Encounters piece offers a personal reflection on the aesthetic and social meanings of the red poppy, exploring how an intimate relationship with the mnenomic object is traversed by the public politics of the British nation-state. It contrasts two different artistic approaches to the red poppy – Blood Swept Lands and Seas of Red by Paul Cummins and Gail Ritchie’s Wounded Poppies – to argue for the importance of artistic practices that can contest and re-contextualize familiar symbolic objects that have accrued narrow, and affectively persuasive, political meanings.
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来源期刊
Critical Military Studies
Critical Military Studies Arts and Humanities-History
CiteScore
1.90
自引率
0.00%
发文量
20
期刊介绍: Critical Military Studies provides a rigorous, innovative platform for interdisciplinary debate on the operation of military power. It encourages the interrogation and destabilization of often taken-for-granted categories related to the military, militarism and militarization. It especially welcomes original thinking on contradictions and tensions central to the ways in which military institutions and military power work, how such tensions are reproduced within different societies and geopolitical arenas, and within and beyond academic discourse. Contributions on experiences of militarization among groups and individuals, and in hitherto underexplored, perhaps even seemingly ‘non-military’ settings are also encouraged. All submitted manuscripts are subject to initial appraisal by the Editor, and, if found suitable for further consideration, to double-blind peer review by independent, anonymous expert referees. The Journal also includes a non-peer reviewed section, Encounters, showcasing multidisciplinary forms of critique such as film and photography, and engaging with policy debates and activism.
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