Acceso usuarios
John Beverley
Se aborda la naturaleza de la representacion estetica de lo subalterno (en cine, literatura, fotograa, artes plasticas, teatro y performance, etc.) en la cultura europea contemporanea.¿Estas representaciones simplemente reproducen (o establecen en primera instancia) los parámetros mismos de la relacion dominante/subalterno? ¿Lo subalterno sólo aparece en su negatividad fundacional con una crítica de la autoridad de la representacion estética en sí, como institucion racial y colonial? ¿Tiene lo subalterno una modalidad estética en sí? Se desrrollan respuestas a estas preguntas a traves de un examen detallado de la película de Michael Haneke, Cache (Heidutchka y Haneke, 2005), que versa sobre una especie de historia secreta (escondida) del sujeto islámico en Europa, y su relacion con el mundo del arte y la cultura.
e question is the adequacy of the aesthetic representation of the subaltern (in lm, literature photography, plastic art, theater and performance, etc.) in modern European culture. Do such representations simply reproduce (or establish in the rst place, as in the case of 19th century Orientalism) the subaltern/dominant relationship? Does the subaltern only appear as such, that is as constituted negativity, via a critique of the authority of aesthetic representation as such and its ties to colonial and racial hierarchies? Does the subaltern have an aesthetic modality of its own that can be made visible? Responses to these and related questions are suggested via a consideration in detail of Michael Haneke's 2005 lm Caché (Hidden), which concerns what might be called the hidden history of the Islamic subject in Europe, and France in particular, and the relation of that history to the world of art and culture.
