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双语推荐：麦克卢汉

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如今麦克卢汉已经成为我们理解媒介社会的一把钥匙,这把钥匙具体说就是对媒介技术的感性视角。文章以麦克卢汉对海德格尔的一次援引为研究对象,并延及维科的＂复归＂思想,其主线是展示麦克卢汉对感性视角的运用,这个视角的特点是对整体性的寻找。文章在对维科＂复归＂思想的讨论中,区别了两种整体性：感性整体和反思整体。麦克卢汉追求的是前者,而非后者,因而其价值取向是人文主义,但这是被电子媒介所更新了的人文主义。
McLuhan is now widely regarded as a key to open the secrets of the media society. This key is the perspective of per-ception concerning media technology. Dealing with McLuhan’s reference to Heidegger and his interpretation of Heidegger in the context of Vico’s theory of“ricorsi”, this article is intended to expose how McLuhan employs the perceptive perspective that aims at a totality. In its discussion of Vico’s conception “ricorsi”, a distinction is made sharply between perceptive totality and reflective totality. What McLuhan looks for desperately is the former but not the latter, and in this sense, McLuhan’s value-orientation is humanism, but which is updated by electronic media.

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康德启蒙的延宕不仅因为启蒙自身的复杂性，其根源在于作为印刷时代的意识形态，它具有视觉性局限、世俗性悖论和技术性困难。通过对麦克卢汉所述电子时代文化的听觉性、神圣性和技艺性的分析，它们或可成为电子时代启蒙的希望。这样，媒介学家麦克卢汉将进入启蒙问题，实现对康德启蒙的麦克卢汉延伸。
The delay of Kant enlightenment is not only because the complexity of the enlightenment itself,but also lies in the ideology of Printing Time. Itˊs the visual limited,secularism paradox and technical difficulties. By analyzing McLuhanˊs hearing culture,sanctity and skill in electronic age,the writer of the paper thinks - they may become the hope of electronic enlightenment. In this way,Marshall McLuhan is involved in the en- lightenment question,implemented the extension of Kant enlightenment.

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麦克卢汉的媒介论述奉行＂马赛克＂式的随意、拼贴文风,而实质上却以＂语言＂和＂延伸＂为理论主线,并未脱离＂媒介技术论＂的理论实质。在探讨媒介与技术的关系建构、揭示媒介技术的效果过程中,麦克卢汉对于媒介技术的决定性作用抱有极其坚定的态度,并认为唯有艺术才能与媒介技术发展带来的刺激和沦陷相对抗。艺术的挑战带来各种界限的消弭,从而产生一系列的＂去＂化审美效果,这正是文艺美学致力于揭示和反思的地方。
There are many ways in understanding the view of McLuhan’s Media. A research from the aesthetic perspective will be carried out in this paper personally. Firstly, the uniformity between the style of Mosaic writing and the focused themes in McLuhan’s book will be analysed. Secondly, the paper will analyse and criticize the view of McLuhan’s Technological determinism. Lastly, the challenge of art as the defense mechanism to against numbing and self-amputation will be pointed, and the effect of aesthetic generaliza-tion will be argued.

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通过探讨传播学理论中"游戏论"、"议程设置"理论、麦克卢汉的媒介三论、"两级传播理论"与"意见领袖"对于高校思想政治教育渠道改进与创新的启示,着重提出对于高校思想政治教育渠道改进与创新的建议。
This article probes into the communication theories of “play theory”,“agenda-setting”theory, Marshall McLuhan''s three medium theories, “two levels of propagation theory” and “opinion leaders”, all of which provide the enlightenment for colleges and universities to improve and innovate the ideological and political education channels. Based on these theories, this article gives some advices as to improve and innovate the channels of ideological and political education in colleges and universities.

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基于麦克卢汉的冷热媒介观，探索冷热媒介的新视角，得出区分冷热媒介的新准则；并探讨新视角下冷热媒介在教学中的应用，以使媒介在教学中合理发挥其作用，优化教学效果。
Based on McLuhan’s viewpoint of cold and hot media, exploreing a new perspective of cold and hot media, reaching a new criterion to distinguish between hot and cold media, exploring the cold and hot media’s application in teaching, in order to make media reasonably to play its role in teaching, improving teaching effect.

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北美媒介生态学者保罗·莱文森被誉为"数字时代的麦克卢汉",他的新知识进化理论知识—技术观在技术哲学、媒介生态学领域引起激烈争论。该理论既受到达尔文的进化论、波普尔的"三个世界"理论和非完美认识论影响,也受到坎贝尔的进化认识论启发,为我们管窥知识与技术在西方科学哲学中的新进展并对其进行跨学科审视提供了新的视角和参照。
North American media ecology scholar Paul Levinson was called“McLuhan in digital age”. His new knowledge evolutionary theory and the view of knowledge -technology caused heat debate in the fields of philosophy of technology and media ecology. This theory was not only influenced by Darwin ’ s theory of evolution, Popper’ s “Three Worlds” theory and the non-perfect epistemology, but also inspired by Campbell’ s evolutionary epistemology, which provide for us glimpse of the new progress of knowledge and technology in Western scientific philosophy as well as a new perspective and reference for interdisciplinary review.

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"地铁即为媒介"的观点既有麦克卢汉的理论支持,亦有史实例证。按照不同的感知维度,作为媒介的地铁空间可分为实体空间和虚拟空间两类。以南京地铁为例进行实证研究,可解读出地铁媒介空间的生产机制为:实体空间的分割、搬运、定义、承载以及虚拟空间的符号选择、表征、重组和议程设置。只有合理利用地铁媒介空间进行城市文化生产,才能充分发掘出地铁文化传播的潜力。
“Subway is the media”can be proved by the theory of Marshall Mcluhan and history events.Accord-ing to the different dimensions of the perceived, the space of media subway can be divided into physical space and virtual space.The empirical research of nanjing subway can explain the mechanisms for the produc-tion of space:the division,handling,definition,bearing of physical space and symbol selection,the charac-terization,restructuring and agenda setting of Virtual space.Only use the underground space legitimately on urban culture production,can subway culture communication be fully excavated.

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与传统的媒体相比，新媒体最突出、最重要的一个特点就是它的即时互动性，从本质上说这种互动是人类存在的方式。而在新媒体时代，麦克卢汉所提出的传统的“地球村”的概念无法表达新媒体所带来的新的世界观的变化，它始终带着旧媒体时代话语表达方式的局限性，而相比之下“桃花源”这一概念因其自身的深刻内涵，更能体现出新媒体发展对我们社会的启示录意义。
Compared with traditional media, the most obvious and most important features of the new media is its instant interactivity, such interaction is essentially the way human existence. In the age of new media, Mcluhan''s tradition "global village" cannot express the changes of the new worldview brought by the new media, it has always been with the old limitations of discourse expression of old media age, by contrast, "Peach Garden" can better reflect the revelation meaning of the development of the new media of the society due to its profound connotations.

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人类的时间观受到语言观的制约,麦克卢汉通过比较现代人与原始部族(特罗布里恩人)在语言观念上的差异,发现现代人的时间观的突出表现为线性发展观,线性发展观主要有两方面的内涵:重比较的时间观和重顺序的时间观。他指出线性发展观使人们一味地逐新弃旧,在追求物质满足、感官享受的漩涡中迷失自我,以至精神生活遭到驱逐。他呼吁人类调整思维方式,从整体上把握事物本身,重拾对绝对精神、形上价值的崇敬,麦氏的思想对于现代人的生存困境,在策略上具有重要的纠偏意义。
Humans''time view is restricted by their language view .By comparing modern and primitive tribes (strobe benefac-tor) in the concept of language differences , McLuhan found that the modern time view is prdominantly a kind of linear development view, including two major aspects:laying emphasis on comparison and on sequence .He pointed out that the linear development view makes people blindly pursue the new while abandoning the old , in the pursuit of material satisfaction and sensual pleasure while losing themselves, so that their spiritual life is lost.He called for people to adjust their way of thinking , to grasp the thing itself on the whole, to regain the absolute spirit and universal values of respect .McLuhan''s thought is an important strategy for rectifying the living plight of modern people.

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媒介生态学（ Media Ecology ）是运用生态学的方法和理论研究媒介的一门科学。它起源于人文技术哲学领域，经过伊尼斯、麦克卢汉、波兹曼等人的发展，于20世纪60年代末成为一门学科，并于20世纪末开始传入国内。国内媒介生态学学者从学科交叉的角度和继承国外哲学思辨的角度出发进行研究，所关注的侧重点有所不同。因此，在媒介生态学的发展历史中，可以清晰看到两种截然不同的研究范式---即从学科交叉的视角出发的“以媒介为中心”的研究范式和从哲学思辨层面出发的“以人为中心”的研究范式。对教育技术研究者来说，这两种范式互为补充，给教育技术的发展带来了新的启示。
Media Ecology is the study of media environments , the idea that technology and techniques , modes of information and codes of communication play a leading role in human affairs .It originated from the field of humanistic philosophy of technology , and on the way to a discipline by, among others, Innis, McLuhan, Postman in 1960s.It began to spread into China at the end of 20th century. Domestic scholars research from two different perspectives , one is cross-discipline and the other is inheriting the philosophical specu-lation from abroad, and their concerns are also different .Thus, in the history of media ecology , we can clearly see two very different research paradigms ---that is, the "media-centric"research paradigm starts from the perspective of interdisciplinary and "people-centered"research paradigm starts from philosophical speculation .These two research paradigms can be complementary , and bring researchers the new enlightenment of the development of educational technology .

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