Reviewed by:

• Ricanness: Enduring Time in Anti-Colonial Performance by Sandra Ruiz
• Leticia Alvarado

Amid institutional moves to remote learning in the face of COVID-19, my Twitter feed kept me up at night, replete with warnings that we in the continental United States would soon experience federal negligence like that endured by Puerto Ricans in the archipelago and its diaspora in the wake of Hurricane Maria. This warning came, by coincidence, as I prepared to teach Sandra Ruiz's Ricanness: Enduring Time in Anticolonial Performance in what would be my last in-person class of the spring semester. Underscoring the need to think the offerings of Ricanness with and through the death wrought by coloniality, Ruiz contributes to an impressive number of interdisciplinary fields (Latinx and performance studies prime among them) and shows an inspiring facility with complex theory. Ricanness also reveals how culture workers' strategies for enduring violent regimes offer "bearable ways of . . . being-together, being mutually transformed" (25), a powerful thesis to absorb during pandemic isolation. This, in short, is a book for our time—a slow, looping, seemingly interminable time, marked by death, disproportionately of Black and Brown people.

In Ricanness, Ruiz argues that the aesthetic, accessed through durational performance, shows us Rican endurance within a coloniality that biopolitically positions Ricans as living in, with, and toward death in sustenance of majoritarian power. Finding possibility particularly in performative disruptions of linear time, Ruiz meditates on Rican subjectivity and survivance. Key to her theorizing of Ricanness is the idea of looping, "whereby actions to redress the past lead us into the future and back again to something prior," an ontological navigation of colonial time that understands death as inextricable to the experience of being Rican (3). Ruiz suggests that, against mandates to avoid negative narratives of hopelessness, grappling with death allows us to glimpse "something more futural and promising [that] might land us in search of ourselves, in our wanton liberations against our unwantedness" (24). Across four chapters, Ruiz braids readings of performance (ADÁL's Puerto Ricans Underwater, Lolita Lebrón's 1954 attack on Congress, Papo Colo's Superman, Pedro Pietri's The Masses Are Asses, and Ryan Rivera's video performances) with rigorous disidentificatory applications of continental and anticolonial philosophy.

A student of the late performance studies and critical race scholar José E. Muñoz, Ruiz's theoretical disidentifications—requiring neither total identification with nor total opposition to the range of theories she cites—provide the book's methodological underpinning and its liberating momentum. Her turns to Frantz Fanon and Martin Heidegger are emblematic of this disidentificatory methodology and inform her theorization of Rican ontology and temporality. Fanon leads Ruiz to the importance of "the bodily schema [as] the main site to understand the subject's interiority," bridging the anticolonial with the phenomenological while also providing a way to center race, Blackness in particular, in what she identifies as Fanon's "new humanism, a revised metaphysics" that stems from his Black existentialism (17, 15). Doing so, Ruiz challenges the traditional subject of philosophical inquiry, making a case for what Ricanness might tell us about "existence and subjectivity in the very life of the aesthetic," even while noting Fanon's homophobia (18). Similarly disavowing Heidegger's anti-Semitism, Ruiz finds value in his revulsion to linear notions of time that limit "one's access to an 'authentic' life through the prime example of the mechanistic clock" (20). Working with his concept of Dasein, Ruiz conceives of time without any "real end" (21), allowing her to theorize the simultaneity of life and death in a continuum within which Ricanness loops. Together, these interlocutors provide the conceptual rubrics for Ruiz's exploration of embodied being with connection to the before and the beyond.

Antonio Viego serves as another notable interlocutor, not one with which Ruiz disidentifies, but [End Page 546] rather one on whose contributions to Latinx studies Ruiz builds. In Viego's Lacanian theorization of incomplete subjectivities, Ruiz recognizes those of culture workers who, she argues, "provide a way out of [the] trap" of multiculturalist, deracialized views...

审核人：

• 狂妄：桑德拉·鲁伊斯（Sandra Ruiz）的反殖民表现中的持久时间
• 莱蒂西亚·阿尔瓦拉多（Leticia Alvarado）

在面对COVID-19的机构转向远程学习的过程中，我的Twitter提要使我彻夜难眠，并充满了警告，即美国大陆上的我们将很快遭受联邦疏忽，就像波多黎各人在群岛及其侨民中所承受的那样在飓风玛丽亚过后。碰巧，这个警告是在我准备教Sandra Ruiz的《Ricanness：反殖民表现中的持久时间》时发生的，这将是我春季学期的最后一次面对面的课堂。鲁伊斯强调需要考虑“瑞卡尼斯”与殖民地造成的死亡之间的关系，并为众多跨学科领域做出了贡献（Latinx和性能研究是其中的佼佼者），并展示了一个具有复杂理论的鼓舞人心的设施。瑞卡尼斯还揭示了文化工作者的持久暴力政权策略如何提供“可忍受的……团结在一起，相互转化的方式”（25），这是在大流行隔离期间吸收的有力论据。简而言之，这是一本适合我们时代的书，这是一个缓慢，循环，看似无休止的时间，以死亡为特征，与黑人和布朗人不成比例。

在瑞卡尼斯鲁伊斯认为，通过持续的表现获得的美学，向我们展示了在一个殖民地中的Rican忍耐力，从政治上将Ricans定位为在多数派权力的支持下生活，生活或走向死亡。尤其是在线性时间的执行性中断中，鲁伊斯发现了可能性，他沉思于Rican的主观性和生存能力。她将“ Ricanness”理论化的关键是循环的想法，“从而纠正过去的行动将我们带入了未来，并又回到了以前的事物”，这是殖民时代的本体论路线，他认为死亡与成为Rican的经历密不可分（ 3）。鲁伊斯建议，与为避免对绝望的负面叙述而避免的命令相反，与死亡作斗争可以使我们瞥见“一些未来主义和有希望的事物，可能使我们寻找自我，波多黎各人水下，洛丽塔·勒布朗（LolitaLebrón）1954年对国会的进攻，帕波·科洛（Papo Colo）的超人，佩德罗·皮特里（Pedro Pietri）的《群众是驴》和瑞安·里维拉（Ryan Rivera）的录像带）均严格地采用了大陆性和反殖民主义哲学。

鲁伊斯（Ruiz）的学生是后期表演研究的学生，也是临界种族学者若泽·E·穆尼兹（JoséE.Muñoz）的理论上的身份认同-既不需要完全认同也不要求完全反对她引用的理论范围-提供了本书的方法论基础和解放动力。她对弗朗茨·法农（Frantz Fanon）和马丁·海德格尔（Martin Heidegger）的看法是这种区别方法论的象征，并告诉了她关于Rican本体论和时间性的理论。法农将鲁伊斯带到“以身体图式（作为了解受试者内在性的主要场所）的重要性”的重要性，将反殖民主义与现象学联系起来，同时也提供了一种以种族为中心的方法，尤其是黑度，她认为这是法农的“新的人文主义，一种修订后的形而上学”，源于他的黑人存在主义（17、15）。这样做，鲁伊斯挑战了传统的哲学研究主题，甚至在注意到法农的同性恋恐惧症时，也证明了瑞卡尼斯可以告诉我们“美学生命中的存在性和主观性”（18）。鲁伊斯同样排斥海德格尔的反犹太主义，在对线性时间观念的排斥中发现了价值，这种线性观念限制了“一个人通过机械钟表的典型例子获得“真实”生活的机会”（20）。与他的概念一起工作 鲁伊斯对线性时间观念的排斥发现了价值，这种观念限制了“通过机械钟表的经典例子来限制人们获得'真实'的生活”（20）。与他的概念一起工作 鲁伊斯对线性时间观念的排斥发现了价值，这种观念限制了“通过机械钟表的经典例子来限制人们获得'真实'的生活”（20）。与他的概念一起工作达辛（Dasein），鲁伊斯（Ruiz）设想了没有任何“真实终点”的时间（21），从而使她能够在“瑞坎尼斯”（Ricanness）循环的连续体内理论化生与死的同时性。这些对话者共同为鲁伊斯探索与之前和之后的联系的具体存在提供了概念性的原理。

Antonio Viego是另一位著名的对话者，不是Ruiz所不认同的对话者，而是[End Page 546]，而是Ruiz在其对拉丁文研究的贡献上所扮演的角色。在Viego对不完全主观性的拉康主义理论中，鲁伊斯认识到那些文化工作者，她认为，这种文化工作者“提供了摆脱多元文化，种族歧视的观点的陷阱”。