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Nomadic, ecstatic, magic: Arctic primitivism in Scandinavia around 1900
Acta Borealia Pub Date : 2016-07-02 , DOI: 10.1080/08003831.2016.1238174
Hanna Eglinger

ABSTRACT The aim of this article is to delineate the term “Arctic primitivism” in an aesthetic context and, by means of three examples from Scandinavian artists whose works were also the subject of ethnological discussions, to give an illuminating impression of Scandinavian Arctic primitivism around 1900. First some conceptual considerations about the combination of Arctic and primitivistic discourse will be presented. Then three examples for the “primal conditions” of an aesthetic conception of Arctic primitivism will be discussed: the nomadic, the ecstatic, and the magical. They serve as counter principles to modern categories such as spatial fixedness, linear chronology, and rational thought. Emilie Demant Hatt’s visual art stands for the nomadic principle; the Swedish cartoonist Ossian Elgström deals with ecstatic states; and the poems of Danish “eskimologist” William Thalbitzer show his fascination with indigenous magical incantations as an alternative to rational thought. All examples illustrate the artists’ interest in an authentic and uncorrupted culture, which they reflect on with awareness of inauthenticity and second-hand acquisition. The effects of duplication, simultaneity, and secundarity arising from the three principles drive a reflective discourse on media through which awareness of the crisis of modernity is sublimated, revealed, or made the subject of artistic exploration.

中文翻译:

游牧、狂喜、魔法:1900 年左右斯堪的纳维亚的北极原始主义

摘要本文的目的是在审美语境中描述“北极原始主义”一词,并通过三个斯堪的纳维亚艺术家的作品作为民族学讨论的主题,给出 1900 年左右斯堪的纳维亚北极原始主义的启发性印象。 . 首先,将提出一些关于北极和原始话语结合的概念性考虑。然后将讨论北极原始主义美学概念的“原始条件”的三个例子:游牧、狂喜和神奇。它们作为现代范畴的反原则,如空间固定性、线性年表和理性思维。Emilie Demant Hatt 的视觉艺术代表游牧原则;瑞典漫画家 Ossian Elgström 处理狂喜状态;丹麦“爱斯基摩人”威廉·塔尔比策 (William Thalbitzer) 的诗歌显示了他对本土魔法咒语的迷恋,作为理性思考的替代品。所有的例子都说明了艺术家对真实和未受污染的文化的兴趣,他们以不真实和二手收购的意识来反思。由三大原则产生的重复、同时性和次要性的影响推动了媒体的反思性话语,通过这种话语,现代性危机的意识得到升华、揭示或成为艺术探索的主题。他们通过意识到不真实性和二手收购来反思这一点。由三大原则产生的重复、同时性和次要性的影响推动了媒体的反思性话语,通过这种话语,现代性危机的意识得到升华、揭示或成为艺术探索的主题。他们通过意识到不真实性和二手收购来反思这一点。由三大原则产生的重复、同时性和次要性的影响推动了媒体的反思性话语,通过这种话语,现代性危机的意识得到升华、揭示或成为艺术探索的主题。
更新日期:2016-07-02
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