BAROQUE MODERNITY AND THE COLONIAL WORLD: AESTHETICS AND CATASTROPHE IN NICK JOAQUIN'S A PORTRAIT OF THE ARTIST AS FILIPINO
BAROQUE MODERNITY AND THE COLONIAL WORLD: AESTHETICS AND CATASTROPHE IN NICK JOAQUIN'S A PORTRAIT OF THE ARTIST AS FILIPINO
复制标题
巴洛克现代性与殖民世界：尼克·华金的《菲律宾艺术家肖像》中的美学与灾难
作者：
J. Blanco
这些反思的出发点是“西班牙主义”作为一种美学模式（可能是菲律宾社会中的精英主义立场或意识形态）的地位，这在二战后菲律宾民族主义者的圈子里基本上被忽视了。在这种情况下，布兰科博士想到的是民族主义历史学家和诗人特奥多罗·阿贡西略和菲律宾民族艺术家尼克·华金在国际联盟正式承认的菲律宾民族共和国就职后发生的争论。在本文中，他想把重点放在一个，也许是关键，这种“西班牙主义”的表现-华金的巴洛克式的代表模式的恢复，作为一种方式，回到巴洛克美学的灾难，在各种殖民地的作品（特别是帕西翁和巴拉格塔桑awit）。通过研究华金的菲律宾艺术家的肖像的透视，他将转向西方巴洛克代表的各个方面，马克斯·韦伯，沃尔特·本雅明和何塞·安东尼奥·马拉瓦尔强调，以突出殖民主权和殖民现代性的开始之间的关系作为“世界的觉醒”。
The point of departure for these reflections is the status of “Hispanism” as an aesthetic mode (and possibly an elitist position or ideology in Philippine society) in a largely ignored debate within Philippine nationalist circles after World War II. In this instance, Dr. Blanco is thinking of the polemic between nationalist historian and poet Teodoro Agoncillo and Filipino national artist Nick Joaquin following the inauguration of a Philippine national republic formally recognized by the League of Nations. In this paper, he wants to focus on one, perhaps the key, manifestation of this “Hispanism” – Joaquin’s recovery of the baroque mode of representation, as a way of returning to the baroque aesthetic of catastrophe in various colonial works (particularly the Pasyon and the Balagtasan awit). By examining the scenography of Joaquin’s A Portrait of the Artist as Filipino, he will turn to various aspects of Western baroque representation highlighted by Max Weber, Walter Benjamin, and Jose Antonio Maravall in order to highlight the relationship between colonial sovereignty and the onset of colonial modernity as the “disenchantment of the world.”