表现力的大小

IF 0.1 3区 艺术学 0 THEATER
Teemu Paavolainen
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引用次数: 0

摘要

这篇文章将特朗普总统任期和人类驱动的人类世地质时代作为当前“表演”概念中两个有争议的极端:(1)基于个人行动和对抗的传统垂直模式——“事实”比“让事情变得伟大”更重要;(2)人类在全球变暖等问题上更广泛、水平的表现(“整个世界是一个舞台”)。作者自由地借鉴了乔治·拉科夫和蒂莫西·莫顿的观点,认为这两种模式在“量级”上存在根本性差异:一种是直接的、单一的、垂直的、快速的,另一种是系统的、多元的、水平的、慢于人类感知的。朱迪思·巴特勒和娜奥米·克莱因也认为,要真正面对争论中的双重危机,我们需要承认这种“多元表演性”——重复、规范和伪装——首先使它们成为现实。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Magnitudes of Performativity
The article presents the Trump presidency and the human-driven geological epoch of the Anthropocene as two arguable extremes among current notions of ‘performativity’: (1) a traditionally vertical model based on individual action and antagonism – where ‘facts’ matter less than ‘making things great’; and (2) the more extended, horizontal human performance of things like global warming (“All the world’s a stage”). Drawing freely on George Lakoff and Timothy Morton, it is argued that these models differ fundamentally in ‘magnitude’: where the one is direct, singular, vertical, and fast, the other is systemic, plural, horizontal, and slow beyond human perception. With Judith Butler and Naomi Klein, it is also argued that to actually confront the twin crises at issue, we need to acknowledge the kind of ‘plural performativity’ – of repetition, norms, and dissimulation – that brought them into being in the first place.
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CiteScore
0.50
自引率
0.00%
发文量
17
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