Научная статья на тему '论“接触地带”的空间性及其审美维度'

论“接触地带”的空间性及其审美维度 Текст научной статьи по специальности «Социологические науки»

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Ключевые слова
“接触地带”;第三空间;感觉结构;丝路审美 / "contact zone" / third space / sensation structure / silk road aesthetics

Аннотация научной статьи по социологическим наукам, автор научной работы — Li, Minghui 李明辉

“接触地带”的原始语境强调“殖民前沿”,中心与边缘的构想模式紧密镶嵌其中。普拉特用巴特神话学解构“旅行书写”的表征方法,批判艺术与帝国意识形态合谋的机制,以及把文化异质性当作文化对抗的根源。“接触地带”成为后殖民研究中心与边缘、主体与客体的空间对象,并且周边聚合着“接触”“权力不对称”“异质性”等概念,较高负荷性的特征使其能够摆向诸多问题域,如殖民研究、性别研究、教育学研究等。“接触地带”属于空间范畴,在“空间、知识与权力”的三元辩证中,“接触地带”从工具性的分析概念中析离出来而直面其自身的空间属性,而非被权力摆置,释放歧义性、差异性、异质性等边缘声音成为它在第三空间的使命。“丝绸之路”是广义上的“接触地带”,即丝路交流与互鉴的空间依托。赛义德后殖民研究将“感觉结构”固定为艺术与政治意识形态合谋的美学机制,“感觉结构”的交互性核心特征被单向化,而丝路审美可以成为“感觉结构”交互性的有效例证,以此解释“接触地带”的空间性与交互性。在“空间与审美”中横向超越单向化,反驳现代性时间散播而造就边地的垄断行为,丝路审美的空间性潜力得到释放。

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On the Spatiality and Aesthetic Dimension of "Contact Zone"

The original context of the ";contact zone" emphasizes the "colonial frontier", and the conceptual model of the center and the periphery is closely embedded in it. Pratt uses Barth's mythology to deconstruct the representational method of "travel writing", criticizes the mechanism of collusion between art and imperial ideology, and regards cultural heterogeneity as the source of cultural confrontation. The “contact zone” has become the spatial object of the postcolonial research center and the edge, the subject and the object, and the concepts of “contact”, “power asymmetry” and “heterogeneity” are clustered around it. The characteristic of high loadability makes it possible to move towards Many problem areas, such as colonial studies, gender studies, pedagogical studies, etc. The ";contact zone" belongs to the category of space. In the ternary dialectics of "space, knowledge and power", the ";contact zone" is separated from the instrumental analysis concept and confronts its own spatial attributes, rather than being placed by power. , Releasing marginal sounds such as ambiguity, difference, and heterogeneity has become its mission in the third space. The "Silk Road" is a ";contact zone" in a broad sense, that is, the space support for exchanges and mutual learning on the Silk Road. Said’s post-colonial studies fixed “feeling structure” as the aesthetic mechanism of collusion between art and political ideology. The core feature of “feeling structure” was unilateralized, and the aesthetics of Silk Road could be effective for the interaction of “feeling structure”. Give examples to explain the spatiality and interactivity of the ";contact zone". In "Space and Aesthetics", it transcends unilateralism horizontally and refutes the monopoly behavior of the border areas created by the spread of modernity through time. The spatial potential of Silk Road aesthetics is released.

Текст научной работы на тему «论“接触地带”的空间性及其审美维度»



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Annotation. The original context of the "contact zone" emphasizes the "colonial frontier", and the conceptual model of the center and the periphery is closely embedded in it. Pratt uses Barth's mythology to deconstruct the representational method of "travel writing", criticizes the mechanism of collusion between art and imperial ideology, and regards cultural heterogeneity as the source of cultural confrontation. The "contact zone " has become the spatial object of the postcolonial research center and the edge, the subject and the object, and the concepts of "contact ", "power asymmetry " and "heterogeneity " are clustered around it. The characteristic of high loadability makes it possible to move towards Many problem areas, such as colonial studies, gender studies, pedagogical studies, etc. The "contact zone" belongs to the category of space. In the ternary dialectics of "space, knowledge

and power", the "contact zone" is separated from the instrumental analysis concept and confronts its own spatial attributes, rather than being placed by power. , Releasing marginal sounds such as ambiguity, difference, and heterogeneity has become its mission in the third space. The "Silk Road" is a "contact zone" in a broad sense, that is, the space support for exchanges and mutual learning on the Silk Road. Said's post-colonial studies fixed "feeling structure " as the aesthetic mechanism of collusion between art and political ideology. The core feature of "feeling structure" was unilateralized, and the aesthetics of Silk Road could be effective for the interaction of "feeling structure". Give examples to explain the spatiality and interactivity of the "contact zone". In "Space and Aesthetics", it transcends unilateralism horizontally and refutes the monopoly behavior of the border areas created by the spread of modernity through time. The spatial potential of Silk Road aesthetics is released.

Keywords: "contact zone "; third space; sensation structure; silk road aesthetics

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34 Markus Viehbeck Transcultural Encounters in the Himalayan Borderlands:Kalimpong as a "contact zone ". Heidelberg university publishing.2017.

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