被拘留者的两个身体:知识产权和逃犯在Guantánamo湾

IF 0.8 Q3 SOCIAL ISSUES
Kalyan Nadiminti
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引用次数: 0

摘要

摘要:文章认为,关塔那摩湾被拘留者的知识产权被剥夺,这引起了人们对新的逃亡模式和后殖民公民身份的关注。这篇文章考察了现任和前任被拘留者创作的画作,以及穆罕默德·乌尔德·斯拉希编辑的回忆录《关塔那摩日记》(2015/2017),提出了两个关键问题:我们如何理解9/11后在押艺术的现状?美国国家对此类艺术品拥有所有权的主张有什么意义?斯蒂芬·贝斯特认为美国知识产权法深受《逃亡奴隶法》的影响,文章将“被拘留者版权”理论化,以突显被拘留者艺术和文化作品的政治意义,而不是国家对逃亡意义的恐惧。知识产权、艺术和生活写作以及国家审查的三角化产生了被拘留者的两个身体:被无限期拘留的物质身体和要求公开流通的隐喻身体。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Detainee's Two Bodies: Intellectual Property and Fugitivity at Guantánamo Bay
Abstract:The article argues that the denial of detainee intellectual property rights at Guantánamo Bay calls attention to new modalities of fugitivity and postcolonial citizenship. Examining paintings created by current and former detainees as well as Mohamedou Ould Slahi's redacted memoir Guantánamo Diary (2015/2017), the article poses two key questions: How do we understand the status of post-9/11 art made in captivity? And what is the significance of the claim of US state ownership over such art? Following Stephen Best's argument that US intellectual property laws were heavily influenced by Fugitive Slave Laws, the article theorizes "detainee copyright" to spotlight the political significance of detainees' artistic and cultural work against the state's fear of fugitive meaning. The triangulation of intellectual property, art and life-writing, and state censorship produces the detainee's two bodies: the material body shackled in indefinite detention and the metaphorical body demanding public circulation.
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CiteScore
1.10
自引率
0.00%
发文量
16
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