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Revisiting the Pirate Kingdom

机译:重游海盗王国

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Piracy is the allegory of media modernity - its immateriality and decisive disruption of sovereignty, authorship and property. Piracy, along with terrorism, is now a favoured term in the language of global fear, with its consequent attractive/destructive semantic overflow. For liberals and old-style Marxists, piracy seems to allegorise an impure transgression, tainted by commerce and an inability to produce a discourse on itself. Pirate production of commodities and media objects fits neither a narrative of avant-garde resistance nor normative critique, nor does piracy seem to fit received models of creativity or innovation. Piracy today produces a series of anxieties: from states, transnational capital, and media industries and even among some liberal proponents of the public domain. For the avant-garde, postcolonial piracy is also a puzzle, a media archive that cannot be easily excavated for critique.
机译:盗版是媒体现代性的寓言-它的非物质性和对主权,作者身份和财产的决定性破坏。海盗与恐怖主义一起,现在已成为全球恐惧语言中的一个受欢迎的术语,其结果是引诱/破坏性的语义泛滥。对于自由主义者和老式的马克思主义者来说,盗版似乎指称一种不纯洁的犯罪行为,这种犯罪行为被商业所污染,并且无法对其自身进行论述。商品和媒体物品的海盗生产既不符合前卫抵抗的叙述,也不符合规范的批判,海盗也似乎不符合公认的创造力或创新模式。如今,盗版活动引发了一系列焦虑:来自国家,跨国资本和媒体行业,甚至包括一些公共领域的自由主义者。对于先锋派来说,后殖民盗版也是一个难题,这是一个不容易被批评的媒体档案。

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