具體描述
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."
作者簡介
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.
目錄資訊
讀後感
用戶評價
讀完這本大部頭，我的第一感覺是震撼，但這種震撼並非源於情節的跌宕起伏，而是源於其內在邏輯的嚴密與宏大。作者構建瞭一個極其復雜的社會體係，其規則之詳盡、製度之迂迴，簡直令人嘆為觀止。這本書的敘事視角非常獨特，它像一個冷峻的觀察者，冷靜地記錄著這個世界中的權力運作和人性異化。我尤其喜歡其中關於“記憶存儲與重塑”的技術探討，它沒有停留在科幻的錶麵，而是深入挖掘瞭這種技術對個體身份認同的根本性衝擊。書中對官僚主義運行機製的諷刺，更是辛辣而精準，那些冗長、充滿術語的會議記錄，讀起來讓人不寒而栗，仿佛能嗅到權力腐蝕的氣味。然而，這種宏大敘事中，作者並沒有忘記對“小人物”的關照。那些在巨大機器碾壓下掙紮求生的個體，他們的每一次微小的反抗和每一次無望的嘆息，都通過簡練卻有力的筆觸被捕捉下來。這本書的語言風格是剋製的、精確的，它很少使用誇張的形容詞，而是用事實的重量來壓倒一切，讀起來需要極高的專注度，但一旦進入狀態，便無法自拔，仿佛進入瞭一個無法逃脫的邏輯迷宮。
评分這本書，我得說，簡直是一場文字的冒險。從翻開扉頁開始，我就被一種奇特的敘事節奏牢牢抓住瞭。作者似乎對語言的本質有著一種近乎偏執的迷戀，他/她構建的世界觀，在細節上呈現齣令人驚嘆的豐富性。我特彆欣賞作者對於人物內心掙紮的描摹，那種細膩到令人窒息的心理刻畫，讓我仿佛能親身感受到角色的每一次呼吸和猶豫。比如，書中某個關於“時間錯位”的段落，它沒有用任何生硬的哲學說教，而是通過一段日常對話的不斷重復和微妙變化，將存在主義的睏境展現得淋灕盡緻。閱讀過程中，我多次停下來，不是為瞭查閱生僻的詞匯，而是為瞭消化那些層層疊疊的意象。那種感覺就像是在一片迷霧中行走，每走一步都能感受到腳下土地的真實質感，但遠方的全貌卻始終保持著一種誘人的模糊。這本書的結構本身也是一個藝術品，它不遵循綫性的時間發展，而是像一個復雜的音樂復調，不同的綫索在不經意間交織、碰撞，最終匯集成一股強大的情感洪流。這本書的優點在於它的不妥協性，它要求讀者付齣努力，但給予的迴報是深刻而持久的思考，讓人在閤上書本後，仍然久久不能平息內心的波瀾。
评分說實話，這本書的閱讀體驗是極其私密的，它更像是一場與作者之間心領神會的對話，而不是單嚮的信息灌輸。我常常覺得，作者是在用一種近乎詩意的散文體，探討一些極其現實且尖銳的問題。它沒有明確的“好人”與“壞人”，每個人物的動機都復雜得像一團糾纏的絲綫，你以為你看到瞭真相，下一秒，作者就會用一個側麵描寫，讓你對之前所有的判斷産生懷疑。這本書的節奏感非常鬆弛，它允許讀者在閱讀過程中擁有大量的“空白”時間去沉澱和反思。比如，書中有一章完全是關於“一個聲音的演變”的記錄，從童年的清脆到成年後的沙啞，中間穿插著環境噪音和情緒波動的細微記錄，這種對“聲音”這一媒介的深入挖掘，展現瞭作者對感官體驗的非凡洞察力。這本書的魅力在於它的“留白”，它不急於給齣答案，而是提齣問題，並將發現問題的過程本身變成瞭一種美學享受。對於那些厭倦瞭被喂養式閱讀的讀者來說，這本書無疑是一股清流，它激發瞭閱讀主體性，讓你真正成為意義的共同創造者。
评分這本書的結構非常大膽，它采用瞭多重敘事者和非連續性的時間綫，初讀時確實會讓人感到有些迷失，但一旦適應瞭它的“音樂性”，那種錯落有緻的美感便會顯現齣來。作者對場景的描繪極其注重光影和氛圍的營造，仿佛每一個場景都自帶濾鏡。我尤其欣賞書中關於“遺忘儀式”的描寫，那段文字充滿瞭儀式感和一種近乎宗教般的莊重，將集體記憶的消解過程描繪成瞭一場盛大而又悲涼的慶典。書中很少有直白的心理獨白，更多的是通過人物的肢體語言、他們選擇如何穿衣、如何對待手邊的物件，來暗示其深層的情感狀態。這種“展示而非告知”的手法，在當代文學中已屬難得。這本書探討瞭“界限”這個主題——人與人之間、已知與未知之間、理性與非理智之間的界限。它的力量在於其含蓄和剋製，它沒有用宏大的理論去壓垮讀者，而是通過一個個精確捕捉的瞬間，構建起一座關於人類脆弱性的紀念碑。
评分如果用一個詞來形容這本書給我的感受，那便是“拓撲結構”。它不是平鋪直敘的，而是在多個維度上進行摺疊和映射。作者對語言本身的玩弄達到瞭一個驚人的地步，他/她似乎在挑戰我們對於“詞語和事物”之間必然聯係的固有認知。這本書裏有大量的術語，但這些術語並非為瞭炫技，而是服務於構建一個具有內在一緻性的、高度抽象的世界觀。我被書中對於“符號係統崩潰”的預言性描述深深吸引，它並非是技術層麵的預警，而是一種對意義流失的深刻憂慮。閱讀過程中，我發現自己常常需要迴溯前幾頁的內容，不是因為我遺忘瞭情節，而是因為我對一個新齣現的概念或一個反轉的視角有瞭更深的理解，需要重新審視已讀過的部分。這本書的難度係數很高，它更像是為那些喜愛解謎和深度分析的讀者準備的盛宴。它成功地將哲學思辨、語言學探索與引人入勝的故事（盡管是非傳統意義上的故事）融閤在一起，讀完後，我感覺自己對周圍世界的觀察角度都發生瞭一點微妙而重要的偏移。
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