“视听连祷”的界定及理论批判——斯特恩声音研究初探  

The Definition and Theoretical Critique of“Audiovisual Litany”:An Initial Exploration of Jonathan Sterne's Sound Studies

作　　者：康杨达琦 Kang Yangdaqi(the Center for Literary Theory and Aesthetics,Shandong University)

机构地区：[1]山东大学文艺美学研究中心,山东省济南市250100

出　　处：《文艺理论研究》2024年第5期86-95,共10页Theoretical Studies in Literature and Art

基　　金：国家社科基金一般项目“网络短视频的生成机制与美学问题域研究”[项目批准号:22BZW028]的阶段性成果。

摘　　要：美国学者乔纳森·斯特恩将沃尔特·翁、雷蒙德·默里·谢弗等人的早期声音研究方法概括为“视听连祷”。视听连祷因为固守视听差异性分析框架而导致视觉文化理论过度地介入于声音研究,这会阻碍研究者发现声音和听觉的独特性。它还在声音本体论思想的笼罩下,使声音蒙上了神秘主义的面纱。在批判这种方法的同时,斯特恩的研究始于以正面的态度分析声音/听觉技术,再经由对声音历史的重新考察,最终认为声音研究应该发现“声音启蒙”的过程和意义而不是解构视觉霸权。辩证地反思斯特恩的视听连祷概念,不但可以帮助我们突破视听二元对立研究模式的束缚,也有益于我们理解声音研究的各别阶段性特征,把握其当下发展动向。American scholar Jonathan Sterne summarized the methodologies of early sound studies by Walter Jackson Ong,Raymond Murray Schafer and others under the term“audiovisual litany”.This approach,which is grounded in the analysis of audiovisual differences,has resulted in the excessive integration of visual culture theory into sound studies,thereby hindering the discovery of the unique aspects of sound and hearing.Furthermore,it cloaks sound in mysticism under the influence of sound ontology.While critiquing this method,Sterne's research initially focuses on a positive analysis of sound and auditory technology.Through a reassessment of sound history,he ultimately argues that sound studies should aim to uncover the process and significance of“Ensoniment”rather than simply deconstructing visual hegemony.Dialectically reflecting on Sterne's concept of audiovisual litany not only encourages us to break free from the constraints of binary audiovisual research models,but also aids in understanding the distinct stages of sound studies and its current developmental trends.

关 键 词：视听连祷 乔纳森·斯特恩 声音研究 声音本体论 视听差异性分析 

分 类 号：G05[文化科学] I0[文学—文学理论]