TAILIEUCHUNG - intellect Crash Culturesmodernity, mediation and the material phần 8

Trong vũ trụ Manichaean Baudrillard, biểu tượng cái chết sẽ được đáp ứng 'chính trị' một trong những tầm thường của dấu hiệu. Vì lý do này, đọc của sụp đổ Baudrillard ngụ ý một "phê bình nội tại của Haraway khẳng định phản ứng của vũ trụ | Negative Dialectics of the Desert Crash in The English Patient found in The English Patient. The question that is raised by these fragments is how to understand them how to make them into useful illuminations and how finally to let them shuttle across more typical representations of the desert in a way that lights up another story. Again we might use Adorno s method of allowing his gaze to fall on the exception rather than the rule where the exception . becomes a fugitive glimpse of the rule s most profound truth Varadharajan 1995 88 . Both Clarkson s celebration of the incongruity of a monumental truck imposing itself in a desert landscape and Allen s fears for the survival of a post-Soviet Bloc Gobi desert inhabited by Mongolian peoples imply if not an originary desert landscape nevertheless a desert which is despoliated by the intrusion of cars and trucks. As both Vradharajan and Lisa Bloom have observed the colonialist s fantasy is that he is occupying uninscribed territory Bloom 1993 3 . A post-colonial fantasy may be to inscribe territories with scripts that confirm the longings and projections of the Western self seeking an escape from the machinic culture of urbanised societies. The deserts of Dubai and Mongolia are places of human habitation places where work play and movement are part of the fabric of everyday existence. These are not enclosed spaces but are closely if complexly connected to globalised economic and political forces. When we see four-wheel drive trucks in deserts the chains of signification do not run in ways which are entirely predictable. The Gobi desert ceases to be a place of paradisal projection which might be used in the service of the jaded Western self. The desert as a landscape which celebrates or simply utilises machinic culture is an object which escapes easy categorisation it does contain however the traces and fragments that connect in complex ways with larger global realities. Such an object demands that we think about .

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