擬仿物與文化間際性：於符號產生與認同過程之間
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Date
2011-08-01
Authors
陳學毅
Chen, H.-i.
Journal Title
Journal ISSN
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Publisher
哲學與文化月刊雜誌社
Abstract
擬仿物與文化間際概念看起來似乎沒有相同之處，但是它們彷彿都是象徵著當代精神的現象。擬仿物概念描繪了人們透過高科技呈現的現實世界而造成的離異感受；文化間際議題，在意涵著異文化之間誤解的同時，也象徵著不同文化之間的和諧與互相理解的希望。透過科技的連結，異文化之間的距離雖然似乎逐漸消失，但是事實上文化之間的裂痕卻越來越深。我們不只誤解不同的文化、互相不信任，而且同時對自己的傳統文化也逐漸疏遠。在討論擬仿物與文化間際議題的脈絡下，認同問題似乎連結了擬仿物與文化間際性的概念。擬仿物與文化間際概念源於不同的論述，並且在不同的環境條件下形成。他們試圖解決問題的方式非常類似，同樣隱藏於符號產生與認同過程之間。為了要接近擬仿物與文化間際概念相似之處，我們必須理解符號產生與認同過程的機制。具體而言，我們至少要回答以下的問題：符號如何形成？如何解讀符號與原型的關係？如何辨識認同的足跡？考慮著上述問題的範圍，此分析主軸將以揭示擬仿物與文化間際概念之符號產生與認同過程的結構為主。為了達成此目標，此分析的論證將分成五個部份進行。第一部份探討原型、模型、複製與擬仿物之間的關係。從布希亞與德勒茲觀點解讀並比較擬仿物的特徵將是此分析的第二個步驟。第三部分的主題以文化與文化認同的理論為主。第四部份介紹並比較文化間際性之核心概念。最後的步驟將是連結文化與文化間際性∕原型與擬仿物之間的相似性質。
Simulacrum and interculturality are concepts that appear to have nothing in common at first view but they both appear to be characteristic phenomena of our current era. While the term simulacrum circumscribes alienated approaches to reality in a world represented by-and made of-technological advancements, the emergence of the question of interculturality, although it could imply misunderstandings between different cultures, represents hopes for cultural conciliations and mutual appreciations. Whereas distances between cultures seem to disappear because of modern information technology, different cultural positions have become more entrenched in the real world. Not only do we misconstrue and distrust other cultures, we are gradually alienated from our own cultural traditions as well. The question of identity seems to be central in cases of both simulacrum and interculturality. Simulacrum and interculturality stem from different discourses and are developed under different conditions, but they intend to address similar problems that are concealed behind the concepts of sign production and identity theory. In order to expound upon the similarities, the mechanism of sign production and identification process, with regard to both concepts, is to be examined in this paper. The concrete questions the author has formulated to examine this issue are: how are signs produced and referred to their origin? How can identification process be traced? Bearing the aforementioned problem areas in mind, the main objective of this analysis is to reveal the structure of sign production and identification process. In order to achieve this goal, the argumentation of this analysis is divided into five sections. In the first section, problems concerning sign production and identification process as they relate to terms like original, model, copy, and simulacrum will be explained. As a second step, characteristics of different interpretations of simulacrum, from Baudrillard to Deleuze, will be compared. In the third section, theories about culturality and cultural identity are taken into consideration and are implemented by way of comparison with relevant intercultural concepts in the fourth section. At last, similarities between culture and interculturality/original and simulacrum will be interrelated with each other as a conclusion of this analysis.
Simulacrum and interculturality are concepts that appear to have nothing in common at first view but they both appear to be characteristic phenomena of our current era. While the term simulacrum circumscribes alienated approaches to reality in a world represented by-and made of-technological advancements, the emergence of the question of interculturality, although it could imply misunderstandings between different cultures, represents hopes for cultural conciliations and mutual appreciations. Whereas distances between cultures seem to disappear because of modern information technology, different cultural positions have become more entrenched in the real world. Not only do we misconstrue and distrust other cultures, we are gradually alienated from our own cultural traditions as well. The question of identity seems to be central in cases of both simulacrum and interculturality. Simulacrum and interculturality stem from different discourses and are developed under different conditions, but they intend to address similar problems that are concealed behind the concepts of sign production and identity theory. In order to expound upon the similarities, the mechanism of sign production and identification process, with regard to both concepts, is to be examined in this paper. The concrete questions the author has formulated to examine this issue are: how are signs produced and referred to their origin? How can identification process be traced? Bearing the aforementioned problem areas in mind, the main objective of this analysis is to reveal the structure of sign production and identification process. In order to achieve this goal, the argumentation of this analysis is divided into five sections. In the first section, problems concerning sign production and identification process as they relate to terms like original, model, copy, and simulacrum will be explained. As a second step, characteristics of different interpretations of simulacrum, from Baudrillard to Deleuze, will be compared. In the third section, theories about culturality and cultural identity are taken into consideration and are implemented by way of comparison with relevant intercultural concepts in the fourth section. At last, similarities between culture and interculturality/original and simulacrum will be interrelated with each other as a conclusion of this analysis.