Abstract:The category of "the human" has recently undergone extensive examination in intellectual and academic circles. Especially through decolonial theory, various authors have attempted to define the current conception of the category of the human, tracing a genealogy that dates from 1492. Decolonial thinking maintains that racialization is a project of humanization or dehumanization at the service of the colonial apparatus. And yet any attempt to confront that epistemology of coloniality leaves us in an abyss of impossibility. Activists like Boaventura de Sousa Santos think that this abyss can somehow be spanned when one plays an intellectual-activist role. In this paper, I analyze Guillermo Gómez-Peña and Coco Fusco's "The Couple in the Cage" performance in the context of the commemoration of five hundredth anniversary of the Conquista in 1992 Spain. I argue that the parody of the two "undiscovered bodies" in the cage confronts the naturalized and unspoken Western dehumanization of nonwhite bodies by bringing the flesh of the indigenous peoples back to the center of the discussion that the colonial project has attempted to obliterate.

中文翻译：

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被遗忘的肉体：通过模仿吉列尔莫·戈麦斯-佩尼亚和可可·富斯科的《笼中的情侣》（1992）来对抗西方认识论

摘要：“人”这一范畴近来在知识界和学术界受到广泛检验。特别是通过非殖民理论，许多作者试图定义人类范畴的当前概念，追溯可追溯至 1492 年的谱系。非殖民思想坚持认为种族化是为殖民机构服务的人性化或非人性化项目。然而，任何对抗殖民主义认识论的尝试都会让我们陷入不可能的深渊。像 Boaventura de Sousa Santos 这样的激进主义者认为，当一个人扮演知识分子的角色时，这个深渊可以以某种方式跨越。在这篇论文中，我分析了 Guillermo Gómez-Peña 和 Coco Fusco 的《笼中的情侣》1992 年西班牙在纪念孔基斯塔五百年的背景下演出。我认为，通过将土著人民的肉体带回殖民计划试图抹杀的讨论的中心，对笼子里的两个“未被发现的身体”的模仿与西方对非白人身体的自然化和不言自明的非人性化相对立。