Beyond Imperial Aesthetics
Beyond Imperial Aesthetics
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超越帝国美学
DOI：
10.2307/j.ctvnb7s56
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发表时间：
2019
期刊：
影响因子：
--
通讯作者：
M. Mensi
中科院分区：
文献类型：
--
作者：
M. Giargia;Eleonora Scotti;S. Marchetti;M. Mensi
观察到理论和哲学之间的分裂仍然与帝国现代性密不可分，表现在“西方”和“亚洲”之间的二元对立中，本卷的作者重新审视艺术和美学，以挑战这些对立，从而重新概念化东亚的政治和知识生产。目前对种族、民族、殖民者和被殖民者等基本概念的理解，以及该地区的亚洲概念，都渗透着帝国美学，这种美学起源于二十世纪和二十一世纪相互竞争的帝国主义。这种美学在民族国家的形成中维持了殖民和地方的感知模式，并扩大了自1945年以来东亚监管权力的范围。这本文集中的十二篇发人深省的文章从四个方面探讨了美学与政治的关系中出现的问题：东亚美学与政治的理论问题，情感与性的美学，批判美学与政治运动之间的生产性紧张关系，以及对当今东亚主权和新自由主义的美学批判。
如果说资本和军国主义在东亚看似普遍的运作需要对生物政治概念进行局部的具体定义才能顺利运作，那么本书则批判了资本的普遍主义与民族和文化的特殊主义之间的权力循环。将艺术中的审美体验视为超越帝国范畴的基础，贡献者提出了在亚洲研究的主流模式中无法想象的新的感知，思考和生活模式，这是一门复制知识生产殖民政权的学科。
Observing that the division between theory and empiricism remains inextricably linked to imperial modernity, manifest at the most basic level in the binary between "the West" and "Asia," the authors of this volume reexamine art and aesthetics to challenge these oppositions in order to reconceptualize politics and knowledge production in East Asia. Current understandings of fundamental ideas like race, nation, colonizer and the colonized, and the concept of Asia in the region are seeped with imperial aesthetics that originated from competing imperialisms operating in the twentieth and twenty-first centuries. Such aesthetics has sustained both colonial and local modes of perception in the formation of nation-states and expanded the reach of regulatory powers in East Asia since 1945. The twelve thought-provoking essays in thiscollectiontackle the problematics that arise at the nexus of aesthetics and politics in four areas: theoretical issues of aesthetics and politics in East Asia, aesthetics of affect and sexuality, the productive tension between critical aesthetics and political movements, and aesthetic critiques of sovereignty and neoliberalism in East Asia today.
If the seemingly universal operation of capital and militarism in East Asia requires locally specific definitions of biopolitical concepts to function smoothly, this book critiques the circuit of power between the universalism of capital and particularism of nation and culture. Treating aesthetic experiences in art at large as the bases for going beyond imperial categories, the contributors present new modes of sensing, thinking, and living that have been unimaginable within the mainstream modality of Asian studies, a discipline that has reproduced the colonial regime of knowledge production.