记住过去有争议的遗产,或者当记忆文化让位于取消文化时

Milica Božić-Marojević
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引用次数: 0

摘要

日常生活中充满了无数过去的画面。所有这些,尽管基于不同的基础,都在时间上留下了印记,从而成为过去的遗产。虽然我们通常对这种继承语料库的理解和接受是没有问题的,但有时也会遇到一些不便。例如,我们宁愿忘记那些让我们想起殖民主义和奴隶制、内战、战争、核灾难的遗产。本文试图找出为什么过去的某些内容留存下来而另一些内容消失的答案,以及我们何时以及为什么决定改变对它们的解释。也就是说,信息技术和新的通信模式的发展,除了许多优势之外,还促进了一种也许不是新的,但肯定是更引人注目的思维文化的发展。基于谴责、否认、严厉的批评而没有充分辩护的可能性,取消文化几乎存在于日常生活的所有领域。因此,对记忆文化的“关注”达到了一个新的水平。虽然对特定艺术表现形式的禁令有着悠久的历史,但今天我们正在目睹各种运动的形成,这些运动以各种方式与各种审查制度作斗争,有趣的是,它们不再受到统治结构的指导,而是来自文化,科学和艺术。以教学理由为这些行动辩护,纠正不公正,关心纪念文化,避免不愉快和政治上不正确的内容,取消展览,占用,修改,摧毁纪念碑。曾经著名的艺术家和科学家的贡献正在被修改和挑战。这引发了一系列问题。是什么想法激发了这种反传统的行动?谁是参与这些实践的参与者?当多样性成为一个问题时,对话走向何方?这些转变的空间、社会和政治含义是什么?在如此快速的社会变化和(重新)解释的情况下,即使在科学领域也越来越难以保持冷静和客观。普遍的追逐,有时是群众性的歇斯底里,使我们很容易陷入修正主义。我们没有把注意力集中在过去遗产的不同价值向我们开放的可能性上,而是似乎在走向这样一个事实,即每一种遗产迟早都会有争议。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Remembering contested legacies of the past or when the culture of remembrance gives way to the cancel culture
Everyday life is filled with numerous images of what has passed. All of them, although on different bases, leave a mark in time and thus become legacies of the past. Although we usually understand and accept this inherited corpus without a problem, sometimes we face certain inconveniences. For example, we would rather forget the heritage that remind us of colonialism and slavery, civil conflicts, wars, nuclear catastrophes. This paper searches for answers as to why certain contents from the past survive and others disappear, as well as when and why we decide to change their interpretation. Namely, the development of information technologies and new models of communication, in addition to many advantages, has contributed to the development of a perhaps not new, but certainly more striking culture of thinking. Based on condemnation, denial, harsh criticism without the possibility of adequate defence, the cancel culture is present in almost all spheres of everyday life. "Concern" for the culture of memory thus has reached a new level. Although the ban on specific forms of artistic expression has a long history, today we are witnessing the formation of movements that fight by all means for various types of censorship, and interestingly, they are no longer instructed by governing structures, but come from culture, science, and art. Justifying these actions with pedagogical reasons, correcting injustices, and caring for the culture of remembrance, unpleasant and politically incorrect contents are avoided, exhibitions are cancelled, monuments are occupied, modified, destroyed. The contribution of once famous artists and scientists is being revised and challenged. This raises a number of questions. What ideas inspire such iconoclastic actions? Who are the actors involved in these practices? When diversity became a problem, where did the dialogue go? What are the spatial, social and political implications of these transformations? In the circumstances of such rapid social changes and (re)interpretation, it is increasingly difficult to remain calm and objective even in science. The general chase, and sometimes the mass hysteria, help us to easily slip into revisionism. Instead of focusing on the possibilities that different values of the legacies of the past open to us, it seems that we are moving towards the fact that every heritage, sooner or later, will be disputable.
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