另一个声音,同一个声音——从声音人物、概念人物到节奏人物  

A Voice and Nothing More:The Sonic Persona,Les Personnages Conceptuels,and Les Personnages Rythmiques

作　　者：姜宇辉[1] JIANG Yuhui(School of Politics and International Relations,East China Normal University,Shanghai 200241)

机构地区：[1]华东师范大学政治与国际关系学院,上海200241

出　　处：《文化艺术研究》2024年第5期42-52,113,共12页Studies in Culture and Art

摘　　要：人声,向来是一个迷人的哲学主题。从亚里士多德到罗兰·巴特,人声一直被置于声音和意义之间,作为沟通的纽带和转换的环节。在声音人类学的相关研究中,它主要展现为声音人物这个关键的形态。这个概念又与当代哲学有着密切关联,尤其是德勒兹和加塔利在《什么是哲学?》中所阐发的概念人物。在概念人物的哲学创造和声音人物的艺术体验之间,梅西安最早创发的节奏人物这个概念起到了连接的作用。但节奏本就具有肯定与否定这两个不可分割的面向,它既是生命的创造,但同时又面临着死亡的深渊。这两个面向在当代对人声的研究中也有深刻体现。从卡内提到阿甘本,从多勒到声智小组,否定性之人声似乎正在成为数字时代重构主体性的一个强力节奏。The voice has long been a captivating philosophical topic.From Aristotle's to Barthes'time,it has occupied a space between sound and meaning,serving as a conduit for communication and a tool for transition.In sound anthropology,this is embodied in the concept of the sonic persona.This idea is closely tied to contemporary philosophy,particularly to les personnages conceptuels articulated by Deleuze and Guattari in What is Philosophy?The notion of les personnages rythmiques,first introduced by Olivier Messiaen,acts as a bridge between the philosophical creation of les personnages conceptuels and the artistic experience of the sonic persona.However,rhythm encompasses both affirmative and negative dimensions;it is both a creation of life and an encounter with death.These dual aspects are profoundly reflected in contemporary studies of the voice.From Elias Canetti to Agamben,and from Mladen Dolar to Audint,the negative voice emerges as a significant rhythm in the reconstruction of subjectivity in the digital age.

关 键 词：人声 声音人物 概念人物 节奏人物 否定性 非声 

分 类 号：J0-02[艺术—艺术理论] G05[文化科学]