Sounds Authentic: Black Music, Ethnicity, and the Challenge of a "Changing" Same
Sounds Authentic: Black Music, Ethnicity, and the Challenge of a "Changing" Same
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听起来很真实：黑人音乐、种族和“变化”的挑战
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发表时间：
1991
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通讯作者：
P. Gilroy
中科院分区：
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作者：
P. Gilroy
撇开考古重建和分期的基本工作不谈，研究当代黑人表现文化形式涉及到一个特别的问题，那就是应该给予黑人社区内和黑人文化之间的差异什么样的分析地位的谜题。试图比较或评估不同的黑人文化形态所产生的紧张可以归结为以下问题：我们如何批判性地看待艺术产品和审美准则，尽管它们可能可以追溯到一个遥远的地方，但已经因时间的推移或它们的流离失所、重新安置或通过更广泛的沟通和文化交流网络传播而发生了某种变化？这个问题为几个更棘手的问题提供了一个容器。这些问题包括创造性黑人自我的统一性和差异性，黑人特殊性的争论，以及文化表达在黑人自我形成和再生产中的作用。这些问题尤其尖锐，因为黑人思想家在很大程度上不愿意或无法诉诸精神分析的权威叙事，将其作为支撑其理论跨文化抱负的一种手段。除了少数高尚的例外，对黑人顺从动态的批判性描述-
The basic labors of archaeological reconstruction and periodization aside, working on the contemporary forms of black expressive culture involves struggling with one problem in particular, and that is the puzzle of what analytic status should be given to variation within black communities and between black cultures. The tensions produced by attempts to compare or evaluate differing black cultural formations can be summed up in the following question: How are we to think critically about artistic products and aesthetic codes that, although they may be traced back to one distant location, have been somehow changed either by the passage of time or by their displacement, relocation, or dissemination through wider networks of communication and cultural exchange? This question serves as a receptacle for several even more awkward issues. These include the unity and differentiation of the creative black self, the vexed matter of black particularity, and the role of cultural expression in its formation and reproduction. These problems are especially acute because black thinkers have been largely unwilling or unable to appeal to the authoritative narratives of psychoanalysis as a means to ground the cross-cultural aspirations of their theories. With a few noble exceptions, critical accounts of the dynamics of black subordi-