Disidentifications

Last updated Dec 16, 2022 Edit Source

recycling and rethinking encoded meaning. The process of disidentification scrambles and reconstructs the encoded message of a cultural text in a fashion that both exposes the encoded message’s universalizing and exclusionary machinations and recircuits its workings to account for, include, and empower minority identities and identifications. Thus, disidentification is a step further than cracking open the code of the majority; it proceeds to use this code as raw material for representing a disempowered politics or positionality that has been rendered unthinkable by the dominant culture. (31)

• encoded messageのexclusionaryなところを明らかにして、それを書き換えるみたいな
• majorityのcodeを、minorityのpositionalityの表現に用いる
• 雑誌の例
  • 本来の作られたmajority的意図を無視して、minority的使い方

• https://courseworks2.columbia.edu/courses/160768/files/14971391?module_item_id=1883852

  • 読む時間ねぇ

• 授業の内容

  • Keywords
    • • identity
        • access in identities
        • identities in difference
        • prescribed by identity
      • recognition, assimilation
      • desire
    • • transformation
        • hybrid transformation
        • revisionary
    • • intersectional
      • late capitalism
      • よく知らんが調べると理解の助けになりそう
    • • theory, conceptualizations
    • • resistance
        • to survive
        • against dominant ideology
          • political power
          • society with expectaitions and disposition
  • notes
    • United Statesのcontextにフォーカスした話
  • Definitionの検討
    • “coping mechanism”
      • identification / counter-identification / disidentification
    • reworking majoritarian cultural texts for minoritarian subjects
  • disidentification,
    • rethink encoded valuesみたいな定義、しっくりくる p34

• とりあえずSummaryさらう

  • https://diversityreadinglist.org/performing-disidentifications/

    • The concept of disidentification is Muñoz’ way of capturing the subversion of the token identities assigned by dominant cultural discourse. While this subversion is a common everyday practice for most members of minoritized groups, Muñoz contends that it is in art where it could achieve the political weight that leads to social change. One of the examples Muñoz uses is of gay Latino artist Felix Gonzalez-Torres whose work resists the dominant “representational economy” - it is not explicitly inflected towards and/or recognizable within the traditional symbolic parameters of sexual or ethnic marginalization. In fact, Muñoz sees Gonzalez-Torres’ art as exemplary of “tactical misrecognition,” i.e. the intentional obfuscation of pre-constituted identification. Performance art is the most natural medium for such misrecognition. - the intentional obfuscation of pre-constituted identification - これのイメージをもう少し掴みたい

  • https://queer170.wordpress.com/2015/02/03/reading-summary-introduction-of-disidentifications-by-jose-munoz/

    • In the introduction of Disidentifications, Jose Munoz introduces Marga Gomez, a Cuban/Puerto Rican American artist who uses her memories and theater performance to illuminate the concept of disidentification for Munoz.Throughout the rest of the introduction, Munoz alludes to Baldwin’s fictional novel, Hidalgo’ film Marginal Eyes, and This Bridge Called My Back to explain this complex term.

    • First, Munoz says that disidentification is a strategy of resistance and survival for minority subjects such as queers of color. In other words, it is a way to relate to identity besides opting to identify with a mainstream concept like whiteness and straightness (assimilation) or rebelliously claiming blackness or queerness (counter-identification) which may only reverse the social hierarchy put in place by mainstream culture (the minorities would then be on top).

    • Then, Munoz says that disidentification could be seen as a “partial” identification if one recognizes a form of mainstream ideology, and then transforms it. Gomez exemplifies this when she watches a television show featuring lesbians. She uses joked-about stereotypes like “dykes who drive trucks” and “women with deep voices” to help her with her self-formation. Then, she retells this experience to her audience in a performative way, thereby reshaping those stereotypes.

• summary

  • Gomezのperformance
    • hegemonic supermacyに対抗するcounterpublicの構築において重要、minoritarian subjectの社会/歴史上の立ち位置をsituate
  • Dissing Identity
    • ここが大事そう
    • “fiction of identity”
  • The Pecheuxian Paradigm
    • disidentification : dealing with dominant ideology

• identify, counteridentify

  • counteridentifyすることも、逆説的にmainのidentityを認めることになる
  • そこで第三の選択肢としてdisidentify