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首页> 外文期刊>Communication Quarterly >Making Sense of Disaster Through Rhetorical Homologies: Extending Walter Benjamin’s Unique/Copy Binary to Post-Katrina Tours
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Making Sense of Disaster Through Rhetorical Homologies: Extending Walter Benjamin’s Unique/Copy Binary to Post-Katrina Tours

机译：通过修辞学同源性了解灾难：将Walter Benjamin的独特/复制二进制文件扩展到卡特里娜飓风后之旅

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摘要

Over a decade after Hurricane Katrina struck New Orleans, publics continue to come tornterms with the tragedy. Isabelle Cossart, owner of “Tours by Isabelle” and survivor ofrnthe hurricane, began offering disaster tours of the affected areas after taking note ofrnpeople’s desire to see the damage and contemplate its effects. Public accounts of Cossart’srnbusiness suggest that people make sense of disasters symbolically via tourism. Cossart’srnpost-Katrina disaster tours belong to a wider form concerning disastrous events springingrnfrom anxiety over how to respond, followed by agency-driven strategies for coping.rnThis discursive dichotomy of disaster/agency is grounded in a homologous discourse ofrnuniqueness versus copy in Walter Benjamin’s essay, “The Work of Art in the Age ofrnMechanical Reproduction.” Through publicly available information on “Tours byrnIsabelle,” this article compares subcategories of disaster, Cossart’s tours, and works ofrnart, and explores how people make sense of disaster symbolically.
机译：卡特里娜飓风袭击新奥尔良后的十多年里，公众继续遭受悲剧的折磨。 Isabelle旅游组织的所有者，飓风的幸存者Isabelle Cossart在注意到人们渴望看到破坏并考虑其后果之后，开始对受灾地区进行灾难巡视。 Cossart商业活动的公共帐目显示，人们可以通过旅游象征性地了解灾难。 Cossart的后卡特里娜飓风灾难之旅是一种更广泛的形式，涉及灾难性事件，这种灾难性事件源于对如何应对的焦虑，然后是机构驱动的应对策略。论文，“机械复制时代的艺术品”。通过关于“ Tours byrnIsabelle”的公开信息，本文比较了灾难的子类别，Cossart的旅行和rnart的作品，并探索了人们如何象征性地理解灾难。

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