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Black Aesthetics, Black Value
Public Culture ( IF 1.442 ) Pub Date : 2018-01-01 , DOI: 10.1215/08992363-4189143
Lewis R. Gordon

A problem with constructing black aesthetics is whether aesthetics has been so colonized that its production would be a form of colonizing instead of decolonial practice. This article explores the problem through contextualizing and exploring recent theoretical responses to it. Since the publication of Addison Gayle Jr.’s classic anthology The Black Aes­ thetic (1972), the titular phrase has been a feature of academic and public intellectual discussions of black arts, or what some prefer to call “black expressive culture.” Though much is written about what black people produce — whether as entertainment, as what finds its way into galleries or museums or onto stages of “high society,” or as rallying cries for revolt in times of outrage, for solace in those of mourning — interrogation into its peculiarly philosophical significance has been rare. Amiri Baraka (1963), Angela Y. Davis (1999), W. E. B. DuBois (1903), Ralph Ellison (2003), and Frantz Fanon (1952; [1991] 1961) produced pioneering work on blues and spirituals that set the stage for much to come, but their considerations were often locked in the goal of other aims. Black aesthetics, qua aesthetics, was often left for when time afforded greater luxury of reflection. This is not to say that there weren’t those for whom, when it came to philosophical reflection, there was no more appropriate time than the present. Black philosophical reflections, including those on being black, were in no short supply. Two cases were writings by Alain Locke, compiled by Leonard Harris in The Philosophy of Alain Locke (1989), and my book Fanon and the Crisis of European Man (Gordon 1995b), where I argued for the aesthetics of everyday life in liberation and revolutionary thought. By the aesthetics of everyday life, I mean the phenomenological insight that everyday existence is an extraordinary achievement. It involves being able to live in a world of the human production of value, including that of the “ordinary.” I joined Locke in a basic observation: a livable world for human beings requires more than material, moral, and political conditions. Locke,

中文翻译:

黑色美学,黑色价值

构建黑人美学的一个问题是美学是否已经被殖民化,以至于它的产生将成为一种殖民形式而不是非殖民实践。本文通过背景化和探索最近对它的理论回应来探讨这个问题。自从小艾迪生·盖尔 (Addison Gayle Jr.) 的经典选集《黑人美学》(The Black Aes thetic,1972 年) 出版以来,这个标题短语一直是学术界和公共知识分子对黑人艺术或某些人更喜欢称之为“黑人表达文化”的讨论的一个特征。尽管有很多关于黑人生产什么的文章——无论是作为娱乐,作为进入画廊或博物馆或进入“上流社会”舞台的东西,还是作为愤怒时期的反抗呼声,哀悼时的安慰——对其特殊的哲学意义的审问很少见。Amiri Baraka (1963)、Angela Y. Davis (1999)、WEB DuBois (1903)、Ralph Ellison (2003) 和 Frantz Fanon (1952;[1991] 1961) 创作了蓝调和精神音乐的开创性工作,为很多领域奠定了基础来,但他们的考虑往往锁定在其他目标的目标上。黑色美学,作为美学,经常被留给时间提供更大的反思。这并不是说没有那些人,当谈到哲学反思时,没有比现在更合适的时间了。黑人哲学反思,包括那些对黑人的反思,不乏其人。两个案例是阿兰·洛克的著作,由伦纳德·哈里斯在《阿兰·洛克的哲学》(1989 年)和我的书《法农和欧洲人的危机》(Gordon 1995b)中编撰,在那里我主张解放和革命思想中的日常生活美学。我所说的日常生活美学,是指一种现象学洞察力,即日常生活是一项非凡的成就。它涉及能够生活在人类生产价值的世界中,包括“普通”的世界。我加入了洛克的一个基本观察:一个人类宜居的世界需要的不仅仅是物质、道德和政治条件。洛克,和政治条件。洛克,和政治条件。洛克,
更新日期:2018-01-01
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