後／書寫中心主義的藝術解構及其對課程與教學的哲學反思

漢字是世界語言書寫文字中，為相當獨特的表意文字，其它文字大多使用拼音文字來書寫。在東亞文化傳統中，漢字書寫不僅是一種語言文字的溝通符號，也是藝術表現的媒介，中國傳統書法、日本書道反映出漢字的審美特性。漢字做為獨特的語文媒介，也蘊藏著文化理解和教育反思上獨特的意義。本文對照西方哲學家Derrida觀點並以中國藝術家徐冰的藝術作品，提出跨文化界限的辯證理解與交互解構，重新省視習以為常的漢字書寫與教育文化思維方式。本文將漢文化思惟特色稱為書寫中心主義（graphocentrism），其內涵包括漢文化傳統之特色與限制。然而，漢字文化本身也蘊含著跳脫漢字思維的潛能，本文稱為後書寫中心主義（post-graphocentrism）。本研究之教育的啟示體現於兩面向：一、釐清漢字思維的書寫中心主義特色；二、探究後書寫中心主義的意義及其在教育上的啟示，也包括對於課程與教學的反思。

關鍵字

徐冰；解構；德里達；書寫中心主義；語音中心主義；後書寫中心主義

並列摘要

Among all the languages worldwide, Chinese is extremely distinctive and unique because its writing system, based on logograms, while most other languages are using alphabets and syllabaries, based on phonograms. In East Asian cultures, Chinese characters are a means not only for communication, but also for artistic demonstration. The traditional Chinese calligraphy shufa or the Japanese shodo displays the aesthetic characteristics of Chinese written form. Chinese writing exhibits various artistic qualities by its contents of composition and styles of fonts of the handwriting. As a unique writing system, the Chinese language form implies rich meanings for cultural and educational purposes. This paper aims to present an interculturally dialectical understanding and deconstruction which helps analyse and examine the taken-for-granted modes of thoughts and traditions carried by the Chinese written form. Though the western philosopher Derrida and Chinese artist Xu Bing provide inspirations just in opposite ways, the author proposes the ＂graphocentrism＂ concept marking the particularity and limitations of thoughts. It also manifests other possibilities to creative thinking, which is post-graphocentrism. In conclusion, there are two goals in this paper: the clarification of graphocentrism, and the exploration of post-graphocentrism with its implications for education, curriculum, and instruction.