自然、资本主义和睡眠的时间性:凯伦·汤普森·沃克的《梦想家

IF 0.1 4区 艺术学 0 FILM, RADIO, TELEVISION
Greg Forter
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引用次数: 2

摘要

摘要:本文有助于最近唯物主义从批判的贬低(和误解)中恢复“自然”范畴的努力。它通过将自然与睡眠和时间异质性联系起来来做到这一点,当代资本对时间的解释寻求但未能根除。为了探讨这些问题,我汇集了乔纳森·克瑞的《24/7:晚期资本主义和睡眠的终结》(2013)、安德烈亚斯·马尔姆的《这场风暴的进展》(2018)和凯伦·汤普森·沃克的《梦想家》(2019)。这些作品追溯了资本对自然的攻击也是对时间模式的攻击,而时间模式不能被纳入同质的、空的时间。他们认为,任何对当代资本主义的清算都必须包括对暂时性的恢复,这些暂时性在属于先于和塑造人类实践的生物物理过程的意义上是“自然的”,但在历史上,因为它们引入了刺穿资本顺利运作的可能性:暂停、中断、拒绝被吞没,或以其他方式扰乱商品形式所要求和强制的时间同质性。克雷的文本和沃克的小说尤其引人注目,因为它们将这些暗示与一种集体的睡眠体验联系在一起。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Nature, Capitalism, and The Temporalities of Sleep: On Karen Thompson Walker's The Dreamers
Abstract:This essay contributes to recent materialist efforts at rehabilitating the category of "nature" from critical disparagement (and misapprehension). It does so by linking nature both to sleep and to the temporal heterogeneities that contemporary capital's construal of time seeks but fails to eradicate. To explore these matters, I bring together Jonathan Crary's 24/7: Late Capitalism and the Ends of Sleep (2013), Andreas Malm's The Progress of This Storm (2018), and Karen Thompson Walker's The Dreamers (2019). These are works that trace how capital's assault on nature is also an assault on temporal modalities that cannot be subsumed within homogeneous, empty time. They suggest that any reckoning with contemporary capitalism must include a retrieval of temporalities that are "natural" in the sense of belonging to biophysical processes predating and shaping human practice, yet historical inasmuch as they introduce the possibility of punctures into capital's smooth functioning: pausing, interrupting, refusing to be swallowed by, or otherwise disturbing the temporal homogeneity required and enforced by the commodity form. Crary's text and Walker's novel are especially compelling for the way they tether these intimations to a collective experience of sleep.
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来源期刊
FILM CRITICISM
FILM CRITICISM FILM, RADIO, TELEVISION-
CiteScore
0.20
自引率
0.00%
发文量
14
审稿时长
20 weeks
期刊介绍: Film Criticism is a peer-reviewed, online publication whose aim is to bring together scholarship in the field of cinema and media studies in order to present the finest work in this area, foregrounding textual criticism as a primary value. Our readership is academic, although we strive to publish material that is both accessible to undergraduates and engaging to established scholars. With over 40 years of continuous publication, Film Criticism is the third oldest academic film journal in the United States. We have published work by such international scholars as Dudley Andrew, David Bordwell, David Cook, Andrew Horton, Ann Kaplan, Marcia Landy, Peter Lehman, Janet Staiger, and Robin Wood. Equally important, FC continues to present work from emerging generations of film and media scholars representing multiple critical, cultural and theoretical perspectives. Film Criticism is an open access academic journal that allows readers to read, download, copy, distribute, print, search, and link to the full texts of articles, or use them for any other lawful purpose except where otherwise noted.
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