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根据现已出版的本雅明全集,与笔迹学相关的讨论主要集中在如下3篇文献之中:第一,《安雅·门德尔松与格奥尔格·门德尔松〈笔迹中的人〉》,本雅明在这篇书评中对《笔迹中的人》所开创的笔迹学方法给予褒奖,并且根据门德尔松学派的“立体笔迹图像”理论,大胆预测了笔迹学研究的未来。第二,《新旧笔迹学》,这是当本雅明获悉柏林的“莱辛学院”将在笔迹学家安雅·门德尔松的领导下组建笔迹学重点系所时特意撰写的一篇广播稿,他在这篇文章中简要梳理了德国笔迹学的来龙去脉,指出了各个笔迹学流派在观点上的差异。第三,《相似性学说》。本雅明在这篇文章中提出了一个重要概念:“非感性的相似性”。在本雅明看来,笔迹是一个“非感性的相似性”的档案,而笔迹学则是理解“非感性的相似性”的重要媒介。
According to the now published collection of Benjamin, discussions related to handwriting studies are mainly concentrated in the following three articles: First, “Anya Mendelssohn and Georg Mendelson” Benjamin praised the method of handwriting science created by “The Man in Handwriting” in this book review, and boldly predicted the future of the study of handwriting based on the Mendelssohn ’s theory of “three-dimensional handwriting image”. Second, the “old and new writing science”, which is when Benjamin learns that a radio broadcast by Berlin’s “Lessing Institute” will focus on writing the key point of writing science under the leadership of the handwriting scientist Anya Mendelssohn In this article, he briefly combs the ins and outs of the German handwriting study and points out the differences in viewpoints among the schools of handwriting. Third, the “similarity theory.” Benjamin proposed an important concept in this article: “non-emotional similarities ”. In Benjamin’s view, handwriting is a file of “non-perceptual similarity,” while handwriting is an important medium for understanding “non-perceptual similarities.”