摘要
在当今的文化研究中,或许是作为对图像霸权、视觉霸权的反抗,对声音文化、听觉文化的强调重又兴起。但无论是单纯对声音、对听觉的强调,还是单纯对图像、对视觉的强调都存在着问题。因为时间与空间、声音与图像、听觉与视觉在我们的生存世界与思维结构中实际是也应该是共生的。而以解构西方"逻各斯中心主义"为标志的德里达,正揭示出了对声音、对听觉推崇背后的"语音中心主义"、"理性中心主义"和"线性时间观"。而他的"视听文字学"首先要解构的正是"语音中心主义"背后的"线性时间观",以及单纯对于声音、对于听觉的推崇,并试图通过一种能把时间与空间、声音与图像、听觉与视觉结合起来的"延异"写作,推进一种"复合性"的空间化转向与多元共生思维方式的当代变革。这无论对于我们认识视觉文化还是认识听觉文化,都具有重要的启示作用。
In today’s cultural study,perhaps as a reaction against image or visual hegemony,the emphasis on sound,or auditory culture rise again. But whether it is simply to give emphasis on sound,or on image,there is a problem. Because time and space,sound and image,auditory and vision is and also should be symbiotic in our actual existence world and thinking structure. And Derrida marked by deconstruction to "logocentrism",just is devoted to reveal the "phonecentrism","logocentrism"and the concept of liner time behind the respect to voice,auditory. And his"audiovisual Grammatology"firstly points to the concept of liner time behind the "phonecentrism",and tries to put the time and space,sound and image,auditory and visual combination through his "differance"writing,and promotes a kind of compound space turn and synergistic thinking revolution.And this has important significance whether to our today’s visual or auditory culture study.
出处
《南京社会科学》
CSSCI
北大核心
2018年第1期119-124,131,共7页
Nanjing Journal of Social Sciences