失声·失忆·失踪——论阿甘本的“声音伦理”

Voicelessness,Memory Loss,Disappearance:On Agamben’s“Voice Ethics”

阿甘本在其“声音伦理”的思想结构中吸收了亚里士多德的“非潜能”概念,并借此开创了抵抗意指性语言装置及其生命权力的另一条道路,同时这也构成了其独特的伦理策略。这一研究进路主要体现在:一是在“失声”的“幼年”实验中搜寻走出语义文化裁剪的有效策略,以倾听“沉默”的方式来阻止“听见”的暴力;二是通过引入“失忆”范畴,阐明了对于某些特殊重大的悲剧性历史事件仅以文字与残缺回忆的方式进行纪念是难以奏效的,语言自身蕴藏的“失忆”功能反而能让人在“声音的沉默”中永久“记住”那些快被遗忘的事件;三是启用了独特的“失踪”概念,通过探讨文本中主体的真正位置与作用,来证明某些普通“主体”虽仅仅是一个偶然且临时的产物,但恰恰因为记录的随意性与暂时性,却使其“沉默的声音”不断为后世所“听见”;四是从宁芙、舞蹈以及摄影等范例性影像方式中寻找“沉默的声音”以及被“遗忘的记忆”,以在词语装置的迷阵里“内爆”出“声音的逃逸线”。

Agamben absorbed Aristotle’s concept of“non-potentiality”into the ideological structure of his“voice ethics”,and thereby created a language device that resists signification and its another path of biopower also constitutes his unique ethical strategy.His research approach is reflected in:firstly,to search for effective strategies to get out of semantic cultural tailoring in the“infant”experiment of“losing voice”,and to prevent the violence of“hearing”by listening to“silence”.Secondly,the introduction of the category is intended to illustrate that it is ineffective to commemorate some special and important tragic historical events by means of words and incomplete memories,and the“amnesia”function inherent in language itself can make people in the“silence of sound”.“Remember”those events that are about to be forgotten.Thirdly,to use the unique concept of“missing”,which proves that some ordinary“subjects”are just accidental and temporary by exploring the real position and function of the subject in the text,however,precisely because of the randomness and temporary nature of the recording,the“silent voice”has been continuously“heard”by later generations.The fourth is to look for“silent voices”and“forgotten memories”from exemplary video methods such as nymphs,dance,and photography,so as to“implode”“sound escape lines”in the maze of word installations.