触觉文化还是听觉文化:也谈视觉文化之后
发布时间：2019-07-26 07:02
【摘要】：随着视觉文化霸权的不断扩张,"视觉文化之后"已成为学界关注的话题。以海德格尔和伽达默尔为代表的现象学和诠释学转向"倾听",倡导听觉文化,而以麦克卢汉和德里达为代表的后现代主义者则转向"触感",倡导触觉文化。但用听觉文化来替代视觉文化并未跳出西方传统思维模式,容易从"专制霸道"的一个极端走向"逆来顺受"的另一个极端。而相比于视觉文化和听觉文化,触觉文化具有更强的自我反思能力,更不容易形成专制主义,并呼应着当代文化的身体转向,因此有着更为积极的时代意义和广阔的发展前景。
[Abstract]:With the continuous expansion of visual cultural hegemony, "after visual culture" has become a topic of concern in academic circles. Phenomenology and hermeneutic, represented by Heidegger and Gadamer, turn to "listening" and advocate auditory culture, while postmodernists, represented by McLuhan and Derrida, turn to "tactile" and advocate tactile culture. However, replacing visual culture with auditory culture has not jumped out of the western traditional mode of thinking, and it is easy to move from one extreme of "autocratic hegemony" to the other extreme of "obedience". Compared with visual culture and auditory culture, tactile culture has stronger ability of self-reflection, less easy to form autocracy, and echoes the physical turn of contemporary culture, so it has more positive significance of the times and broad prospects for development.
【作者单位】： 云南师范大学美术学院;
【基金】：教育部人文社科青年项目“梅洛-庞蒂晚期肉身存在论美学研究”[项目编号:13YJC720024] 云南省哲学社会科学创新团队“少数民族美学与审美教育研究”的阶段性成果
【分类号】：G112
本文编号：2519408
[Abstract]:With the continuous expansion of visual cultural hegemony, "after visual culture" has become a topic of concern in academic circles. Phenomenology and hermeneutic, represented by Heidegger and Gadamer, turn to "listening" and advocate auditory culture, while postmodernists, represented by McLuhan and Derrida, turn to "tactile" and advocate tactile culture. However, replacing visual culture with auditory culture has not jumped out of the western traditional mode of thinking, and it is easy to move from one extreme of "autocratic hegemony" to the other extreme of "obedience". Compared with visual culture and auditory culture, tactile culture has stronger ability of self-reflection, less easy to form autocracy, and echoes the physical turn of contemporary culture, so it has more positive significance of the times and broad prospects for development.
【作者单位】： 云南师范大学美术学院;
【基金】：教育部人文社科青年项目“梅洛-庞蒂晚期肉身存在论美学研究”[项目编号:13YJC720024] 云南省哲学社会科学创新团队“少数民族美学与审美教育研究”的阶段性成果
【分类号】：G112
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