The Aesthetic Dimension Of Derrida's Voice Thought

As one of the most influential French thinkers in the 20 th century,"Deconstruction" has always been a symbolic color of Jacques Derrida(1930-2004).In 1967,Derrida published three works in the same year: Voice and Phenomenon,of Grammatology and Writing and Difference.With the completion of these three works,his grand deconstruction project can start.Among these three works,Voice and Phenomenon is of great significance.Because it can be used not only as an introduction to the study of the of Grammatology and Writing and Difference,but also as an annotation of the latter two works,which is the key text to understand Derrida's thoughts.In Voice and Phenomenon,Derrida breaks the binary opposition between voice and written words,breaks the metaphysics of presence,and starts a game of seeking "echo".The voice described by Derrida's voice thought is the voice that can be "heard" from the perspective of sense.However,in the process of tracing the origin of the original voice,the voice eventually shifts to the field of silence,becoming the "invisible" and silent voice,which is incarnated as the "trace" of the presence left in the " différance " network,playing between different texts.Derrida's Deconstruction and reconstruction of "voice" constitute a pillar of his thought building,which runs through his many comments and reflections on literature,art and aesthetics.Therefore,this paper attempts to focus on Voice and Phenomenon and combine with other relevant works of Derrida,to comprehensively sort out and explain Derrida's voice thought in the way of close reading of the text,and to explore the multiple aesthetic meanings of Derrida's voice thought.The specific contents are divided into four chapters:The first chapter is the ontology of Derrida's voice thought.Through the introduction of Derrida's deconstruction project,we can understand the deconstruction object and strategy of Derrida's voice thought,and clarify the position and role of Derrida's voice thought in his deconstruction theory.In his deconstruction theory,it describes the ontological meaning of Derrida's voice thought,which paves the way for further exploring the multiple aesthetic meanings of voice.The second chapter is the sensory theory of Derrida's voice thought.To understand Derrida's voice thought from the perspective of sense,voice is the sound that can be heard in the sense of hearing,which is what we usually call the sound that carries information,such as speech.Through the reduction and Deconstruction of Husserl's "inner monologue",Derrida found that it was impossible for the metaphysics of "presence" to pursue the so-called definite and direct "living present" original voice of presence.He pointed out that the original voice has been mixed with "reappeared" and "imagined" parts,and the voice we heard is only the "echo" left by the original sound as "trace".The origin of voice has already entered the space-time network of "différance".Derrida traces back to the origin of the original voice,deconstructs the voice in the linear time view,thus opening a wider space for it,and thoroughly "strangles" the original breath of the voice,bringing the voice back to the sound before it is made front of the voice.However,such original voice can only be "inaudible".Therefore,the original voice has entered an absolutely silent field,which is doomed to be only silent.The third chapter is the art theory of Derrida's voice thought.Through the analysis of Derrida's voice thought and sensory theory,the voice of "the living present" has entered the network of "différance" at the very beginning,and the original voice can only leave the "trace" of the presence,so that the voice is interpreted to form the existence similar to the "echo" of the original voice.The existence of echo,on the one hand,denies the possibility of "presence" of the original voice,but also leaves the "trace" of the original voice in the different system.Since the original voice has entered the system of "différance",its echo is no longer confined to the sound of vibration,but also contains the written words which are external to the sound in the spatial order.The original voice is hidden in the " archi-criture " by the form of echo.Different forms of literature and art texts are such " archi-criture ",which not only include the art that can be heard,like music,but also include the written texts that can't directly hearing,such as painting,literature and drama.Therefore,for Derrida,literature and art have entered the field of "original",and become the category of "original literature" and "original art".Among them,echo is the property of resonance between different texts,and the game of "echo" begins in different texts ofliterature and art.The fourth chapter is the aesthetic culture theory of Derrida's voice thought.The invention of the written words makes the voice separate from the " real voice " of the throat for the first time,and the "voice" in the field of sensation "hear" or "cannot hear" gradually moves towards the silent "words" in the field of aesthetic culture,which together become the "echo" left by the original voice in the difference system.The development of modern sound technology makes the sound separate from the body again,and the technological innovation records the time and space of the birth of sound.This time,voice seems to have a real physical form,which can be restored to the vibration of eardrum,that is to say,although the voice is far away from the natural sound source,it can still be "heard".However,the logisticians believe that the separation of technology and other cultural elements from the "body" of sound makes the voice far away from the natural sound source,and even stands on the opposite side of "nature" with the new appearance of "culture".Therefore,in the field of aesthetic culture,many people still question whether the "echo" under the "culture"(technology)can lead the audience to find the echo from the original voice of the "nature" scene.So in this chapter,we try to rethink the relationship between "nature" and "culture" in the field of aesthetic culture through Derrida's tracing the origin of the original "voice" of the so-called "nature".