具体描述
In Commonweal magazine, John Macquarrie writes about "Speech and Reality":
"The Author believes - as did Dilthey before him - that social sciences must suffer from being forced into the methodological mold of the natural sciences. Anyone acquainted with the kind of psychology and sociology commonly taught in the United States today could hardly fail to agree, and there is in fact currently a good deal of dissatisfaction with the naturalistic model used in these sciences. But where do we look for a better method?
Rosenstock-Huessy suggests that we look to language. Speech is the basic social reality. Grammar, in turn, is the science which describes and analyzes the structures of language. Hence grammar is the foundation for developing a methodology for the social sciences. It must be added at once that it is not conventional grammar that the author has in mind. The grammar we learn in school and which enables us to reel off conjugations and the like is a grammar which has killed the drama and dignity of living speech. Rosenstock-Huessy has in mind a renewed grammar, a 'higher grammar,' as he sometimes calls it, which will attend to the nuances of tense and mood, and will see in these the structures of the social reality.... This book could make very helpful contributions toward working out a more human approach to the study of the human phenomenon."
作者简介
Eugen Rosenstock-Huessy (1888–1973), German social philosopher
Along with Franz Rosenzweig, Ferdinand Ebner, and Martin Buber, Rosenstock-Huessy is a major contributor to "speech thinking," and it is a central concern of several works of his, perhaps the most important, in English, being Speech and Reality. The basic idea of “speech thinking” is that our reality is not only an object to be espied, but an extension of our powers. And of all the powers which constitute us, it is speech, with its calls and responses, vocatives and imperatives, solicitations and appeals, that enables us to undertake collective action and thereby transform ourselves and the world around us. Speech does not merely describe or denote what exists, it enables us to draw out from ourselves possibilities and realities which are yet unrealized.
In place of Descartes’ "I think therefore I am," which is the clarion call to become lords and masters over nature and thereby to treat nature as a great machine subject to our will and our cognitive capacities, Rosenstock-Huessy taught "I respond, although I will be changed." This is a formulation, which comes from the recognition that life calls us into ever-fresh tasks and that we never approach urgent things already in full knowledge of an outcome. Being open to speech is being open to the various insights and requests, the urgencies and necessities that are encapsulated in speech. It is the recognition that we are mutual creators of each other and the world around us; that is a reality we cannot avoid, though we can easily fail to see what it involves. That our words become flesh is, in fact a variant of another fact—that we dissolve and resolve again in acts of love. Speech thinking, in other words, stands in the closest relationship to the law of love.
目录信息
读后感
用户评价
这本书的结构非常大胆，它采用了多重叙事者和非连续性的时间线，初读时确实会让人感到有些迷失，但一旦适应了它的“音乐性”，那种错落有致的美感便会显现出来。作者对场景的描绘极其注重光影和氛围的营造，仿佛每一个场景都自带滤镜。我尤其欣赏书中关于“遗忘仪式”的描写，那段文字充满了仪式感和一种近乎宗教般的庄重，将集体记忆的消解过程描绘成了一场盛大而又悲凉的庆典。书中很少有直白的心理独白，更多的是通过人物的肢体语言、他们选择如何穿衣、如何对待手边的物件，来暗示其深层的情感状态。这种“展示而非告知”的手法，在当代文学中已属难得。这本书探讨了“界限”这个主题——人与人之间、已知与未知之间、理性与非理智之间的界限。它的力量在于其含蓄和克制，它没有用宏大的理论去压垮读者，而是通过一个个精确捕捉的瞬间，构建起一座关于人类脆弱性的纪念碑。
评分如果用一个词来形容这本书给我的感受，那便是“拓扑结构”。它不是平铺直叙的，而是在多个维度上进行折叠和映射。作者对语言本身的玩弄达到了一个惊人的地步，他/她似乎在挑战我们对于“词语和事物”之间必然联系的固有认知。这本书里有大量的术语，但这些术语并非为了炫技，而是服务于构建一个具有内在一致性的、高度抽象的世界观。我被书中对于“符号系统崩溃”的预言性描述深深吸引，它并非是技术层面的预警，而是一种对意义流失的深刻忧虑。阅读过程中，我发现自己常常需要回溯前几页的内容，不是因为我遗忘了情节，而是因为我对一个新出现的概念或一个反转的视角有了更深的理解，需要重新审视已读过的部分。这本书的难度系数很高，它更像是为那些喜爱解谜和深度分析的读者准备的盛宴。它成功地将哲学思辨、语言学探索与引人入胜的故事（尽管是非传统意义上的故事）融合在一起，读完后，我感觉自己对周围世界的观察角度都发生了一点微妙而重要的偏移。
评分这本书，我得说，简直是一场文字的冒险。从翻开扉页开始，我就被一种奇特的叙事节奏牢牢抓住了。作者似乎对语言的本质有着一种近乎偏执的迷恋，他/她构建的世界观，在细节上呈现出令人惊叹的丰富性。我特别欣赏作者对于人物内心挣扎的描摹，那种细腻到令人窒息的心理刻画，让我仿佛能亲身感受到角色的每一次呼吸和犹豫。比如，书中某个关于“时间错位”的段落，它没有用任何生硬的哲学说教，而是通过一段日常对话的不断重复和微妙变化，将存在主义的困境展现得淋漓尽致。阅读过程中，我多次停下来，不是为了查阅生僻的词汇，而是为了消化那些层层叠叠的意象。那种感觉就像是在一片迷雾中行走，每走一步都能感受到脚下土地的真实质感，但远方的全貌却始终保持着一种诱人的模糊。这本书的结构本身也是一个艺术品，它不遵循线性的时间发展，而是像一个复杂的音乐复调，不同的线索在不经意间交织、碰撞，最终汇集成一股强大的情感洪流。这本书的优点在于它的不妥协性，它要求读者付出努力，但给予的回报是深刻而持久的思考，让人在合上书本后，仍然久久不能平息内心的波澜。
评分读完这本大部头，我的第一感觉是震撼，但这种震撼并非源于情节的跌宕起伏，而是源于其内在逻辑的严密与宏大。作者构建了一个极其复杂的社会体系，其规则之详尽、制度之迂回，简直令人叹为观止。这本书的叙事视角非常独特，它像一个冷峻的观察者，冷静地记录着这个世界中的权力运作和人性异化。我尤其喜欢其中关于“记忆存储与重塑”的技术探讨，它没有停留在科幻的表面，而是深入挖掘了这种技术对个体身份认同的根本性冲击。书中对官僚主义运行机制的讽刺，更是辛辣而精准，那些冗长、充满术语的会议记录，读起来让人不寒而栗，仿佛能嗅到权力腐蚀的气味。然而，这种宏大叙事中，作者并没有忘记对“小人物”的关照。那些在巨大机器碾压下挣扎求生的个体，他们的每一次微小的反抗和每一次无望的叹息，都通过简练却有力的笔触被捕捉下来。这本书的语言风格是克制的、精确的，它很少使用夸张的形容词，而是用事实的重量来压倒一切，读起来需要极高的专注度，但一旦进入状态，便无法自拔，仿佛进入了一个无法逃脱的逻辑迷宫。
评分说实话，这本书的阅读体验是极其私密的，它更像是一场与作者之间心领神会的对话，而不是单向的信息灌输。我常常觉得，作者是在用一种近乎诗意的散文体，探讨一些极其现实且尖锐的问题。它没有明确的“好人”与“坏人”，每个人物的动机都复杂得像一团纠缠的丝线，你以为你看到了真相，下一秒，作者就会用一个侧面描写，让你对之前所有的判断产生怀疑。这本书的节奏感非常松弛，它允许读者在阅读过程中拥有大量的“空白”时间去沉淀和反思。比如，书中有一章完全是关于“一个声音的演变”的记录，从童年的清脆到成年后的沙哑，中间穿插着环境噪音和情绪波动的细微记录，这种对“声音”这一媒介的深入挖掘，展现了作者对感官体验的非凡洞察力。这本书的魅力在于它的“留白”，它不急于给出答案，而是提出问题，并将发现问题的过程本身变成了一种美学享受。对于那些厌倦了被喂养式阅读的读者来说，这本书无疑是一股清流，它激发了阅读主体性，让你真正成为意义的共同创造者。
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