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‘If we Can’t Have a Conversation with our Past, then What will be Our Future?’: HIV/AIDS, Queer Generationalism, and Utopian Performatives in Matthew Lopez’s The Inheritance
English Pub Date : 2020-07-09 , DOI: 10.1093/english/efaa014
Louisa Hann

Abstract
As the HIV/AIDS epidemic approaches its fifth decade, and emerging generations of queer-identified youth experience and conceptualize the virus in new ways, questions surrounding the memorialization and historicization of queer history have arisen within the arts. In the domain of theatre in particular, as mainstream revivals of crisis-era plays such as Larry Kramer’s The Normal Heart (1985) and Tony Kushner’s Angels in America (1991) proliferate, criticisms have arisen that such revivals feed into a narrative of the so-called ‘AIDS nostalgia’, pushing the idea that HIV/AIDS is a thing of the past and ignoring the ways in which the virus continues to shape individual social and sexual experiences. Recently, however, new plays such as Jonathan Harvey’s Canary (2010), the GHP Collective’s The Gay Heritage Project (2013), and Matthew Lopez’s The Inheritance (2018) have explicitly addressed this issue, conceptualizing a revised queer politics of HIV/AIDS that transcends Angels’ famous call for ‘The Great Work’ to begin. This article explores how The Inheritance in particular problematizes ‘AIDS nostalgia’ and configures novel approaches to the politics of HIV/AIDS in the twenty-first century. Alongside scholarship within the field of queer utopian studies such as José Estaban Muñoz’s Cruising Utopia (2009) and Jill Dolan’s Utopia in Performance (2005), it analyses the ways in which Lopez’s play employs utopian performatives to move towards a new politics of queer heritage.


中文翻译:

“如果我们无法与过去对话,那么我们的未来将是什么?”:马修·洛佩兹(Matthew Lopez)的《继承》中的艾滋病毒/艾滋病,酷儿世代论和乌托邦表演

摘要
随着艾滋病毒/艾滋病的流行接近其第五个十年,并且出现了以酷儿为特征的年轻人,并以新的方式对病毒进行了概念化,围绕着酷儿历史的纪念性和历史性提出了一些问题。特别是在剧院领域,随着危机时代戏剧的主流复兴,例如拉里·克雷默(Larry Kramer)的《正常的心》The Normal Heart)(1985)和托尼·库什纳的托尼·库什纳(Tony Kushner)的《美国天使》(1991),激增了批评,认为这种复兴成为了这种叙事的叙事。所谓的“艾滋病怀旧”,使人们认为艾滋病毒/艾滋病已成为过去,而忽略了病毒继续塑造个人社交和性经历的方式。但是,最近有一些新剧,例如乔纳森·哈维(Jonathan Harvey)的《金丝雀》(2010年),GHP集体的《同性恋遗产计划》(2013年)和马修·洛佩兹的《继承》(2018年)明确地解决了这个问题,概念化了经过修改的艾滋病毒/艾滋病酷儿政治,超越了天使对“伟大工作”的著名呼吁。开始。本文探讨了“继承”如何特别化了“艾滋病怀旧”并为二十一世纪的艾滋病毒/艾滋病政治配置了新颖的方法。除了酷儿乌托邦研究领域的奖学金外,例如何塞·埃斯塔班·穆尼奥斯(JoséEstabanMuñoz)的《巡航的乌托邦》(2009)和吉尔·多兰的《表现乌托邦》 (2005年),它分析了洛佩兹的戏剧采用乌托邦表演者的方式,以朝着一种古怪的遗产新政治迈进。
更新日期:2020-07-09
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