查詢結果分析
來源資料
相關文獻
- 聲響的政治 : 從殖民現代性看日治時期聲音地景
- 對「馬克思主義中國化」的理解
- 日本殖民統治時期臺灣的鴉片問題
- 慾望/忘卻「美國」的日本戰後--「基地」與「消費文化」的錯綜關係
- 帝國主義、國族主義、「現代」的移植與翻譯:西川滿《臺灣縱貫鐵道》與朱點人〈秋信〉
- 建築與全球現代性、殖民主義以及地方
- 帝國的探險--1933年「滿蒙學術調查研究團」在熱河
- 殖民現代性、美、與衛生:以《盛京時報》的日本化妝品及醫藥廣告為中心
- 留日敘事的自我建構--臺灣日治時期回憶錄的跨界意識
- 韓國流行文化∕韓國男性氣質 [Sun Jung, Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols (Hong Kong University Press ,2011)]
頁籤選單縮合
題 名 | 聲響的政治 : 從殖民現代性看日治時期聲音地景=Politics of Sounds : Soundscape in the Japanese-Ruled Period from the Perspective of Colonial Modernity |
---|---|
作 者 | 蕭伊伶; 吳雅婷; | 書刊名 | 南藝學報 |
卷 期 | 14 2017.06[民106.06] |
頁 次 | 頁1-25 |
專 輯 | 視聽媒材:文獻性及其檔案化之反思 |
分類號 | 910.15 |
關鍵詞 | 日本殖民統治時期; 殖民現代性; 聲音地景; 混種; Japanese colonial period; Colonial modernity; Soundscape; Hybridity; |
語 文 | 中文(Chinese) |
中文摘要 | 「聲音地景」(Soundscape)意指生活空間中看不見卻無處不在的各種聲響,除了包圍當時人們的聽覺感官,更是記憶、生活與文化的重要組成。聲音地景此一概念起源於「世界音景計畫」(World Soundscape Project, WSP),是一九六O年代晚期加拿大作曲家穆瑞.謝佛(R. Murray Schafer)在西門菲莎大學(Simon Fraser University)所進行的國際性研究計畫,接著於一九七O年代推進了「溫哥華音景」(The Vancouver Soundscape)與「五個鄉村音景」(Five Village Soudscape)兩項計畫,這些計畫開啟了城市與鄉村空間中聲音的紀錄與意義的闡述,說明在人工音與自然音之外,聲音地景包含了不可見的環境聲音,記憶、意像、文化及社會的種種聲響都在其中。人類五感知覺與藝術實踐相關的領域中,風景圖像的描繪呈現了視覺感官熟悉的城市與鄉村,樂音則創造了愉悅的聽覺享受、自然世界的模仿與人們情緒的激昂,而聲音地景的紀錄與分析則引動著截然不同的感官記憶與歷史想像。本文擬就常民生活為主軸,以日治時期音像資料、文獻考掘 與寫實文學作家呂赫若的日記,分就殖民現代性與聲音地景,現代化的聲響-糖業與交通運輸、日常生活與消費文化,聲音機器-電影、蓄音器與收音機,淺談日本帝國主義所帶來「殖民現代性」(Colonial Modernity),揭示殖民與現代性的悖論,重構日治時期城市與鄉間的環境聲響,聽覺現代性與「混種」文化的美學輪廓形塑。 |
英文摘要 | “Soundscape” refers to sounds that looming around in spaces of daily life while may not be heard or noticed. It is in them that human’s auditory sense immerses in a period of time, and thus they are also vital components of memory, life and culture. The concept of soundscape originated from World Soundscape Project (WSP), an international one founded by Canadian composer R. Murray Schafer, at Simon Fraser University in the late 1960s. Then in 1970s, Schafer advanced another two projects, namely The Vancouver Soundscape and Five Village Soundscape. Those projects began with recording of sounds in city and countryside, then elaborating on their respective meaning. In so doing, soundscape is considered to include all sounds (and memories, images, cultural and social meanings within) not be noticed or examined, other than simplistic distinction of natural and artificial sound. In human’s five senses and their related artistic practices, images of landscape present city and countryside familiar to visual perception, and music engenders aural delight, mimesis of natural world and excited emotion in people. Record of soundscape and its analysis lead to different memories of senses and historical imagination. This article centers on folk life and consisted of three parts: colonial modernity and soundscape, sounds of modernity (sugar industry and transportation, daily life and consumer culture), and sound machine (cinema, phonograph, radio), to illustrate colonial modernity brought by Japanese Imperialism and paradox between colonialism and modernity. With records of sounds and films in Japanese -ruled period, documents and a realist author Lu Heruo’s diaries, I attempt to reconstruct the soundscape of city and countryside of Japanese period, aural modernity, and its aesthetic formation of “hybrid” culture. |
本系統中英文摘要資訊取自各篇刊載內容。