Abstract

Resuming the conversation on Goya’s oeuvre that took place in the special issue of Romance Quarterly in 2007, this article pays attention to Goya’s Disasters of the War. Through a comparative reading of Goya’s The Disasters of the War and the video-installation of Iranian artist Farideh Lashai’s When I count…, this article proposes a notion of “adumbration” that shifts our understanding of Enlightenment as a narrative of power, progress and humanism founded on light. By way of theoretical reflections and drawing from Derrida and Nancy, this article shows how Goya and Lashai reflect with their works on the condition of exposition and disappearance of bodies on our age of global war and the commodification of the image. I propose “an Enlightenment as Adumbration” as a critical alternative to cultural critique based on Enlightenment logocentric categories such as progress, representation, or agency in Modern Iberian Studies.

摘要

继续讨论2007年《浪漫季刊》特刊中有关戈雅的作品的讨论，本文重点关注戈雅的《战争灾难》。通过对戈雅（Goya）的《战争灾难》（The Disasters of the War）和伊朗艺术家Farideh Lashai的录像装置《我计数》的比较阅读…，本文提出了“预言”的概念，该观念改变了我们对启蒙运动的理解，因为启蒙运动是基于光的力量，进步和人道主义的叙事。通过对德里达和南希的理论反思和借鉴，本文展示了戈雅和拉沙如何在我们全球战争时代和图像商品化的情况下，在尸体的暴露和消失的情况下用他们的作品进行反思。我基于“启蒙运动”的标志性中心类别，例如现代伊比利亚研究中的进步，代表或代理，提出“启蒙运动作为一种批判”作为文化批判的重要替代。