论“文字画”叙事形态

发布时间：2018-06-28 18:23

本文选题：“文字画” + 叙事　；参考：《南京师范大学》2017年硕士论文

【摘要】：汉字与拼音文字的区别在于“字形”的意义,拼音文字的形象没有独立的意义,它是声音在物理层面的“文迹”,它的能指是统一的,这使得拼音文字和“语言”也是统一的。但是字形作为汉字的能指,有着它独立的意义,包含着特殊的叙事性。蕴含在“字形”层面的特殊的叙事形态源于汉字与图画一脉相承,并且未曾断绝的关系。要理解汉字形象所蕴含的意义,就必须要研究汉字成为“汉字”的前一刻,也就是所谓的“文字画”时期。“文字画”是一种特殊的叙事结构,它一方面具备图画的基本属性和结构,另一方面它又包含着一些基础的“造字”思维和符号化的特征。它是图画系统向着符号系统演变的一个中间状态。而汉字其实是这个中间状态的孑遗,甚至仍然处于这个状态之中。“文字画”的叙事形态,展示了汉字所继承的,原始而特殊的叙事思维:即通过形象构建出一个包裹性的外观世界,通过感官使人陷入并停留在这个外观世界,全息而瞬时地完成叙事。这与以声音主导的语言系统的叙事形态完全不同,后者是通过强制约定的“声音形象”的符号构成观念世界和逻辑世界,是诉说的、延时的、逐点对应的。由于语言以及服从语言的文字符号长期地巩固着它作为强势符号的地位,我们的思维和认知世界的意识活动已经被它“绑架”了。我们不能想象在“声音唤起观念”这种模式之外的叙事。我们不能想象“图像先于声音”的真正含义,不能想象世界先于观念、现象先于逻辑的叙事可能。这造成了语言对图像、对外观世界的粗暴图解,语言所提供的观念世界成为唯一的叙事可能和唯一有效的“信息”,致使图画全息的叙事性在对它“虚”的指责中蜷缩了,使得图画所提供的“包裹性”和“陷入感”只能属于“审美”的意识活动,叙事成为对这种沉浸和陷入的打断,这是一个巨大的误解。观念和逻辑组织的语言叙事是操纵对象、超越于对象的,而图像叙事是陷入对象,沉浸于对象的。汉字字形继承了“文字画”所展现的全息叙事的思维。它们在以声音为中心的语言铁幕中撕开了一个裂口,通过这个裂口,我们得以窥见我们与世界真正的缝隙与隔阂。这是汉字对于我们研究民族的文化心理和人类精神现象的真正启发性意义。
[Abstract]:The difference between Chinese characters and phonetic characters lies in the meaning of "glyph". The image of phonetic characters has no independent meaning. It is the "writing mark" of sound on the physical level, and its signifier is unified, which makes the phonetic alphabet and "language" unified. However, as the signifier of Chinese characters, glyph has its independent meaning and contains special narration. The special narrative form in the level of "glyph" originates from the relationship between Chinese characters and pictures. In order to understand the meaning of Chinese character image, we must study the moment before Chinese character becomes "Chinese character", that is, the period of "character painting". "character painting" is a special narrative structure. On the one hand, it has the basic properties and structure of the picture, on the other hand, it contains some basic characteristics of "character making" thinking and symbolization. It is an intermediate state in which the drawing system evolves into a symbolic system. And the Chinese character is in fact the relict of this intermediate state, even still in this state. The narrative form of "character painting" shows the primitive and special narrative thinking inherited by Chinese characters: that is, to construct a wrapped world of appearance through images, and to make people fall into and stay in the world of appearance through the senses. Holographic and instantaneous narration. This is completely different from the narrative form of the voice-dominated language system, which forms the conceptual world and the logical world through the sign of "sound image", which is the narrative, delayed and point-by-point correspondence. Since language and its characters have long consolidated its position as strong symbols, our thinking and conscious activities of recognizing the world have been "kidnapped" by it. We cannot imagine narration outside the pattern of "sound arousal". We cannot imagine the true meaning of "image before sound", the world before idea, the phenomenon before logical narrative possibility. This creates a crude picture of language to images, to the world of appearance, to the idea that language provides the world as the only narrative possible and only effective "information," so that the narrative of picture holography is curled up in the blame for its "hypocrisy". It is a great misunderstanding that the "wrapping" and "falling into feeling" provided by pictures can only belong to "aesthetic" conscious activities. The language narration of concept and logical organization is manipulative object, transcending object, and image narrative is falling into object, immersing in object. Chinese characters inherits the holographic narrative thought shown in character painting. They tear a gap in the voice-centric language curtain through which we can see the real gaps and estrangement between us and the world. This is the real enlightening significance of Chinese characters for us to study the national cultural psychology and human spiritual phenomena.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H12;J205

【参考文献】