Taboo: Time and Belief in Exotica
Taboo: Time and Belief in Exotica
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禁忌：时间和对奇异事物的信仰
DOI：
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发表时间：
2008
期刊：
影响因子：
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通讯作者：
P. Ford
中科院分区：
文献类型：
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作者：
P. Ford
在20世纪50年代，异国情调是一种流行音乐类型，专门描绘想象中的异国天堂和传统的土著人。到了20世纪60年代末，异国情调的流行音乐已经消失，但它的时间和空间脱节的比喻仍然存在，构建了乌托邦反主流文化的音乐，视觉艺术和社会理论。虽然20世纪50年代和60年代的异国情调在他们喜欢的想象目的地方面有所不同，但两者都提出了这样一个问题：人类生活的审美化表现需要信仰和怀疑之间的中间色调。这篇文章将异国情调理论化为一种由特殊的接受模式所支配的表现模式--一种通过服从其奇观而实现的意志轻信。然而，异国情调所要求的正是知识分子最不可能给予的，而异国情调景观的特殊乐趣在解释学制度中被诋毁或被忽视。
In the 1950s, exotica was a genre of pop music that specialized in depicting imaginary exotic paradises and conventionalized natives. By the late 1960s, exotica pop had disappeared, but its tropes of temporal and spatial disjuncture persisted, structuring the music, visual art, and social theory of the utopian counterculture. While 1950s and 1960s kinds of exotica differ in their preferred imaginary destinations, both raise the question of what intermediate shades between belief and disbelief are demanded by aestheticized representations of human life. This essay theorizes exotica as a mode of representation governed by a peculiar mode of reception——one of willed credulity enabled by submission to its spectacle. What exotica demands is what intellectuals are least likely to give, though, and the peculiar pleasures of exotica spectacle are denigrated or rendered invisible in the hermeneutic regime.