論文從19世紀下半葉在租界上海出現的鐘聲切入,討論圍繞鐘聲而形成的聽覺感官文化。鐘聲蘊含著城市日常生活所必需的知識,故而當時的出版物采用了寫實的再現"框架"對之進行說明,同時記錄下時人聽取鐘聲的心智反應與身體傾向。鐘聲的聽覺過程涉及聽、看與知。例如火警鐘的聽覺過程是在聽、看和鐘聲-城市地理知識之間的不斷回返。在此過程中,人們對城市展開了地圖式的抽象與理性的體認,借由鐘聲獲得感知城市的新的視點;城市作為行動者,亦通過鐘聲將其合理化的機體展露出來。與此不同的是,傳統城市的鐘鼓聲所關聯的聽覺方式總是包含著對身體安置的規定,將感知與行動引向邊界城市中的具體地點。物質性的城市、鐘聲與聽覺感官文化是同構的關系。

In the second half of the 19th century,different authorities in the Shanghai International Settlement began to ring bells to convey public information in urban everyday life. Printed products in late Qing Shanghai took a realistic frame to describe the auditory information system to familiarize the Shanghai residents;they at the same time recorded people’s mental reaction and embodied aptitude at the moment they heard the sound. The process of listening to the bells involved more than hearing: it also involved seeing and knowing. For example,listening to fire alarms required going back and forth among listening bells,watching the city（ in a certain direction given by the alarm）, and referring to urban geographic knowledge. By listening,people acquired a cartographic perspective to encounter and perceive the city.At the same time,the city as an agent also translated the ringing,and by this translation presented its rationalized body. The city’s material body,its sound（ the tolling bells）,and auditory culture consisted an isomorphic complex.