Abstract

Walter Ong points out that no one can write naturally, because writing is a completely artificial technique we need to acquire through education. The technology of literacy as writing letters begets a dividing line between “literates” and “illiterates,” since literacy cannot be acquired otherwise. When we review the early history of literacy, we notice that letter-writing was a specialized technology, and that in its center resided a small number of elites who could write. Thereafter, in the Modern Era, the center of discussion on literacy turned to the issue of the illiterate masses, mainly on how to bring them to literacy through school education. As the interest in popularizing literacy increased, though, another kind of increased interest arose: the interest in literacy education for blind people. On purpose or not, blind people had been excluded or alienated from literature and/or letter-based culture. However, the stronger the power exerted to exclude blind people, the more blind people aspired to write/read letters. Such aspiration and attempts to write/read letters in their own way may establish a distinct touch-centered world of letters and literacy and, importantly, may relativize its sight-centered world counterpart. If so, how will such a practice revise sight-centered literacy and open new horizons? I would like to consider this topic by reviewing its historical background and examining a case of writing practice by Kuzuhara Kôtô, a blind musician, in 19^th century Japan.

摘要

Walter Ong 指出，没有人可以自然地写作，因为写作是一种完全人为的技术，我们需要通过教育获得。作为写信的识字技术在“识字”和“文盲”之间产生了分界线，因为否则就无法获得识字。当我们回顾早期的识字史时，我们注意到写信是一种专门的技术，其中心居住着少数会写字的精英。此后，在近代，扫盲的讨论焦点转向了文盲群众的问题，主要是如何通过学校教育使他们识字。然而，随着普及识字的兴趣增加，另一种兴趣增加了：对盲人识字教育的兴趣。有意无意，盲人被排除或疏远于文学和/或以文字为基础的文化。然而，排除盲人的权力越强，盲人就越渴望写/读信。这种以自己的方式写/读字母的愿望和尝试可能会建立一个独特的以触觉为中心的字母和读写世界，更重要的是，可能会将其以视觉为中心的世界相对化。如果是这样，这种做法将如何修正以视觉为中心的识字并开辟新的视野？我想通过回顾它的历史背景和考察一个盲人音乐家葛原琴在 19 年的写作实践来考虑这个话题。这种以自己的方式写/读字母的愿望和尝试可能会建立一个独特的以触觉为中心的字母和读写世界，更重要的是，可能会将其以视觉为中心的世界相对化。如果是这样，这种做法将如何修正以视觉为中心的识字并开辟新的视野？我想通过回顾它的历史背景和考察一个盲人音乐家葛原琴在 19 年的写作实践来考虑这个话题。这种以自己的方式写/读字母的愿望和尝试可能会建立一个独特的以触觉为中心的字母和读写世界，更重要的是，可能会将其以视觉为中心的世界相对化。如果是这样，这种做法将如何修正以视觉为中心的识字并开辟新的视野？我想通过回顾它的历史背景和考察一个盲人音乐家葛原琴在 19 年的写作实践来考虑这个话题。^世纪日本。