Author: 李明辉

Annotation: The original context of the "contact zone" emphasizes the "colonial frontier", and the conceptual model of the center and the periphery is closely embedded in it. Pratt uses Barth's mythology to deconstruct the representational method of "travel writing", criticizes the mechanism of collusion between art and imperial ideology, and regards cultural heterogeneity as the source of cultural confrontation. The “contact zone” has become the spatial object of the postcolonial research center and the edge, the subject and the object, and the concepts of “contact”, “power asymmetry” and “heterogeneity” are clustered around it. The characteristic of high loadability makes it possible to move towards Many problem areas, such as colonial studies, gender studies, pedagogical studies, etc. The "contact zone" belongs to the category of space. In the ternary dialectics of "space, knowledge and power", the "contact zone" is separated from the instrumental analysis concept and confronts its own spatial attributes, rather than being placed by power. , Releasing marginal sounds such as ambiguity, difference, and heterogeneity has become its mission in the third space. The "Silk Road" is a "contact zone" in a broad sense, that is, the space support for exchanges and mutual learning on the Silk Road. Said’s post-colonial studies fixed “feeling structure” as the aesthetic mechanism of collusion between art and political ideology. The core feature of “feeling structure” was unilateralized, and the aesthetics of Silk Road could be effective for the interaction of “feeling structure”. Give examples to explain the spatiality and interactivity of the "contact zone". In "Space and Aesthetics", it transcends unilateralism horizontally and refutes the monopoly behavior of the border areas created by the spread of modernity through time. The spatial potential of Silk Road aesthetics is released.

Keywords: "contact zone"; third space; sensation structure; silk road aesthetics