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Disney discourses of self and Other: animality, primitivity, modernity, and postmodernity

机译:迪士尼关于自我和其他的论述:动物性,原始性,现代性和后现代性

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We need Otherness to define self. As our world widens in an age of global commerce, travel, and entertainment, we encounter a sometimes bewildering array of Otherness delivered at an ever‐increasing pace. In light of postmodern diversity and hybridity, we need increasingly fundamental Others against whom to construct ourselves. In the theme parks typified by those of Disney in Orlando, Florida, we find several discourses that offer us a perspective on who we are vis‐à ‐vis the Other. The particular Others (and sometimes the particular selves) of these discourses often come from the non‐human animal kingdom as well as from other human animal groups. The animal self/Other is not new and can be traced back to Aesop’s Fables and earlier. But in the controlled and carefully planned world of Orlando theme parks, supplemented by films, cartoons, animatronics, and other “imagineering” techniques, the possibilities of representation are greatly expanded. Nor is offering human Others a new thing and the “human zoos” of some of the early North American World’s Fairs brought pseudo‐villages full of “natives” for spectator amusement and contemplation. In addition, various depictions of human Others in film, print, and art can be seen in earlier eras, ranging from William Rice Burrough’s Tarzan to Pablo Picasso’s Les demoiselles d’Avignon. But in a postmodern, post‐colonial, degendered era of self‐commoditization, global environmentalism, and multiculturalism, sensitivities are quite different from those that prevailed during earlier attempts at stylized presentations of the Other. Chauvinistic doctrines of superiority no longer go unchallenged with the human animal Other, and the non‐human animal Other presents a somewhat less contentious alternative. In this paper the authors seek to understand the Otherness crafted in Orlando theme parks, the messages they convey, and the broader societal discourses invoked and mobilized. The contrasts offered in these theme parks and that facilitate an understanding of our selves and our place in the world include not only us and them, but also a conflated array of here and there, now and then (past or future), human and animal, primitive and civilized, he and she, good and bad, and responsible and irresponsible. The authors do this by presenting auto‐ethnographic accounts of their own engagements with two Orlando theme parks, Disney Animal Kingdom and Anheuser‐Busch SeaWorld.View full textDownload full textKeywordsOther, self, identity, ontology, theme parks, Disney, SeaWorldRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/10253866.2011.562017
机译:我们需要他人来定义自我。在全球商务,旅行和娱乐时代,随着我们的世界不断扩大,我们遇到了有时会以越来越快的速度交付的令人迷惑的“异性”。鉴于后现代的多样性和混合性,我们需要越来越多的基础他人来构建自己。在以佛罗里达州奥兰多的迪斯尼为主题的主题公园中,我们发现了几种话语,可以使我们对谁相对于另一个人有一个看法。这些话语中特定的其他(有时是特定的自我)通常来自非人类动物界以及其他人类动物群体。动物的自我/其他并不是新事物,可以追溯到伊索寓言和更早的寓言。但是在奥兰多主题公园受控且精心计划的世界中,再加上电影,卡通,动画电子技术和其他“想象力”技术的补充,代表的可能性就大大扩展了。也没有为人类他人提供新事物,北美早期世界博览会中的一些“人类动物园”带来了充满“本土人”的伪村庄,供观众娱乐和沉思。另外,在电影,印刷和艺术中可以看到对人类他人的各种描绘,范围从威廉·赖斯·伯拉(William Rice Burrough)的泰山(Tarzan)到巴勃罗·毕加索(Pablo Picasso)的阿维尼翁大帝(Les demoiselles d)Avignon。但是,在后商品化,后环境化,后殖民化,衰落的自我商品化,全球环境主义和多元文化主义时代,敏感度与早期尝试以“其他形式”进行风格化展示时普遍存在的敏感性大不相同。沙文主义的优越学说在人类动物“其他”中不再受到挑战,非人类动物“其他”则提出了较少争议的选择。在本文中,作者试图了解在奥兰多主题公园制作的“异性”,它们传达的信息以及所引用和动员的更广泛的社会话语。这些主题公园提供的对比有助于我们对自己和我们在世界上的位置的了解,不仅包括我们和他们,还包括时不时地(过去或将来),人类和动物的混杂阵列,他和她,原始而文明,好与坏,负责任和不负责任。作者通过介绍自己与两个奥兰多主题公园,迪斯尼动物王国和安海斯·布希海洋世界的互动的人种志来实现这一目的。查看全文下载全文关键词其他,自我,身份,本体,主题公园,迪士尼,海洋世界addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,servicescompact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,更多”,发布:“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/10253866.2011.562017

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