明刊戏曲插图本“语—图”互文研究

发布时间：2018-06-22 04:33

本文选题：“语-图”互文 + 明刊本　；参考：《南京大学》2011年博士论文

【摘要】：语言与图像的关系既是一个理论问题又是一个现实问题,既有传统渊源又有现实新变。语言与图像尽管分属不同的符号系统,功能也迥然有异,却又各有所长。探讨语图关系,不应过多地强调它们之间的对立,而要着眼于二者之间的比照和互文；不能仅诉诸于几个空洞口号,而应以“文本”为依托,从中归结出图文表现的基本型态和互文现象的内在规律。本文将从明刊戏曲插图本入手,着力探讨“语言”与“图像”之间的多重互文关系,归纳其呈现型态,探讨其深层机理,把握其内在张力,并把插图提升为一种“批评形态”,试图从学理层面建构起“语-图”互文研究的基本框架。第一章主要梳理明刊本戏曲插图的传承与演变。中国古代戏曲插图经历了元代发端、明代繁盛、清代衰落的发展历程。而在戏曲插图“光芒万丈”的明代,又呈现出插图位置、插图版式、插图类型等方面的多元形式嬗变,从“文之饰”到“叙事画”再到“曲意图”的多种功能演变,以及“意义的形式”、“意图的形式”和“意味的形式”的多重视域融合。第二章着重分析明刊戏曲插图本“语-图”互文的显性呈现。对于戏曲插图本而言,“图”各有异,“文”亦多变,二者之间不同的组合关系和呈现方式,构成了“语-图”互文的各种型态：一是“因文生图”,包括图文对照、图略于文、图繁于文等；二是“图中增文”,包括附加说明式、情节提示式、题画诗式等；三是“图外衍文”,即图像证史。第三至第五章分别从戏曲插图与戏曲语汇、插图文人化与戏曲文人化、“远取”与“近譬”三个方面,重点分析了明刊戏曲插图本“语-图”互文的深层表达和隐性呈现。第三章从戏曲开场、戏曲科介、戏曲唱词、戏曲评点、戏曲时空处理艺术、戏曲传播等方面,分析了戏曲插图与戏曲语汇之间的隐性互文。明代戏曲插图虽然无法像其它戏曲艺术元素那样可以用语言直接述说,却一直在用一种特殊的图像语汇实现对语言文本的转译和穿越。第四章着力分析插图文人化与戏曲文人化之间的隐性互文。明代戏曲的文人化进程,不仅体现在戏曲语言文本中,还体现在戏曲插图文本中。戏曲插图由“照扮冠服”的舞台性,一步步发展为“象意相生”的抒情性、“美仑美奂”的装饰性；从当初重视舞台效果、着力营造“写实空间”,一步步呈现出极具文人化色彩的“诗意空间”和“形式空间”,并最终演变为文人学者的“案头清玩”。图文关系也由原来图对文的亦步亦趋、若即若离,变得渐行渐远,插图的文人化色彩和艺术独立性不断增强。因而,在“文人化”这一接合点上,明刊戏曲插图本形成了更为隐蔽、更加深刻的“语-图”互文。第五章呈现的是戏曲插图与“先在之语”(远取)和“绘画语汇”(近譬)之间的隐性互文。戏曲插图不仅与其紧紧依附的戏曲语言文本相关联,还与此前存在的其他语言文本(“先在之语”)构成隐秘的互文性关联,即“远取”；同时还与借鉴和吸收同时代的绘画资源并融入时代图景或个人元素的“绘画语汇”形成互文性关系,即“近譬”。无论是“远取”还是“近譬”,均构成一个潜在的文本,与戏曲图像构成新型互文关系,并呈现出表层互文与深层互文、纵向互文与横向互文、外在互文与潜在互文、同质互文与异质互文等多重“语-图”互文形态。在前面几章归纳“语-图”互文的显性呈现与隐性呈现的基础上,第六至第八章重点探讨的是明刊戏曲插图本“语-图”互文的深层机理问题。第六章着重分析的是语言与图像两种符号之间的相互模仿和转换何以可能,“语-图”互文又如何在符号层面上得以实现。语言与图像都拥有各自的“文法”与“句法”、语法规则或秩序感、语境或关联域。多层符号行动、多层意义接合和多层视域转换,构成了戏曲插图本“语-图”互文的多重符号表征；而不同符号撷取相同意象、外在动作传递内在情感、视觉形象再现听觉反应,则构成了“语-图”符号之间的联觉同构。第七章从“语象”与“象语”角度探讨“语-图”互文的深层机理问题。“语-图”互文不是语言与图像之间的直线式对应,而为内部深层的生成与转换机制所规约：曲文(“语”)经由“语象”而与插图(“图”)互文,插图(“图”)经由“象语”而与曲文(“语”)互文。读者只有具备“化语成像”(语象)与“化图为语”(象语)的双重能力,“语-图”互文才可能真正实现。第八章则从戏曲插图本的叙事功能的角度,进-步深化“语-图”互文的深层机理研究。从横组合角度看,“图”可以被视为“文”的“预叙”：从纵聚合角度看,“语-图”关系可以视为“叙事时空体”。而单就“叙事时空体”来说,从纵聚合角度看,“语-图”关系体现为“时间的空间化”,即在时间进程中赢取空间；从横组合角度看,“语-图”关系体现为“空间的时间化”,即在空间布展中触及时间。正是在横组合和纵聚合交错而成的表征系统中,“预叙”和“叙事时空体”得以形成,“语-图”之间的互文关系和多重意指得到汇聚与凝结。第九章主要研究戏曲插图本“语-图”互文与图文缝隙问题。语言与图像关系问题十分微妙而复杂,它们之间不仅有共存、互文、互补的一面,同时还存有裂缝和空隙。戏曲插图本的图文缝隙有“符号缝隙”、“行为缝隙”、“接受缝隙”等类型。“语一图”互文与图文缝隙同体异面,二者始终保持着一定的张力关系,构成语言与图像关系中“和而不同”的艺术景观。余论部分则将插图上升为一种“批评”。明刊本戏曲插图已不只是语言文本的附庸,而具有独立的艺术价值。这种价值不仅体现在戏曲插图本身即是一件艺术作品,它可以离开语言文本而单独存在,更为主要的是它体现着图像作者的“视点”,体现着图像文本对语言文本的一种诠释,体现着阐释空间的敞开性。“化语成图”的直观表现、“驻足凝视”的审美驿站、“象外之象”的意蕴空间,构成插图这一特殊批评形态“以象诂意”的批评特性。
[Abstract]:The relationship between language and image is both a theoretical and a realistic problem, which has both the traditional origin and the new reality. Although the language and image belong to different symbolic systems, the functions are very different, but they have their own strengths. And intertextuality; instead of resorting to a few empty slogans, it should be based on "text", and the basic pattern of graphic expression and the inherent law of intertextuality. This paper, starting with the illustrations of the Ming and periodicals, focuses on the multiple intertextual relations between the "language" and "image", sums up its presentation pattern, and probes into its deep level. Mechanism, grasp its internal tension, and upgrade illustrations to a form of criticism, trying to construct the basic framework of intertextuality research from the theoretical level.
The first chapter mainly combs the inheritance and evolution of the Chinese opera illustrations. The Chinese ancient opera illustrations experienced the origin of the Yuan Dynasty, the prosperity of the Ming Dynasty and the decline of the Qing Dynasty. The multiple functions of "narrative painting" and "multiple meanings", as well as the multiple forms of fusion of "meaning form", "intention form" and "meaning form".
The second chapter focuses on the analysis of the explicit presentation of the intertextuality of the "language and graph" of the illustrations in the Ming and periodicals. For the opera illustrations, the "pictures" are different, the "text" is also changeable, and the different combinations and presentation modes between the two forms constitute the various types of intertextuality of the "language map". The two is "adding text" in the picture, including the appended description, plot hint, painting poem and so on, and the three is "outside the picture", that is, the history of image certificate.
The third to fifth chapters, from the three aspects of the dramas and operas, illustrations and dramas, "far fetching" and "close to", emphatically analyzed the deep expression and recessive presentation of the intertextual intertextuality of the illustrations in the Ming and periodicals. The third chapters are from the opening of the opera, the theatre Department, the opera singing, the commentary on the opera and the space and time treatment of the opera. The recessive Intertextuality between the dramas and the vocabulary of the opera is analyzed in the fourth parts of the Ming Dynasty. Although the dramas of the Ming Dynasty can not be described directly in language like other opera art elements, they have been using a special image vocabulary to translate and cross the language text. The recessive Intertextuality between the dramas of operas. The process of the literation of the opera in the Ming Dynasty is embodied not only in the language text of the opera but also in the text of the opera illustrations. The "poetic space" and "form space" are presented in a step by step, and finally the "desk clearing" of literati and scholars. Therefore, at the juncture of "literary humanism", the illustrations of the Ming and opera have formed a more concealed and more profound intertextuality. The fifth chapter presents the recessive Intertextuality between the opera illustrations and the "first language" (far fetching) and the "painting vocabulary" (near). The opera illustrations are not only related to the traditional Chinese opera language texts. It also forms a secluded intertextual relationship with other existing language texts ("first in the language"), that is, "far fetching", and also forms intertextuality with the drawing resources of the same time drawing and absorbing the times picture or individual elements, that is, "near", whether "far fetching" or "near", It forms a potential text and forms a new intertextual relationship with the opera images, and presents a multiple "language and graph" form of intertextuality and intertextual intertextuality, vertical intertextuality and transversal intertextuality, external intertextuality and potential intertextuality, homogeneity intertextuality and heterogeneous intertextuality.
On the basis of the preceding chapters, the sixth to eighth chapters focus on the deep mechanism of intertextual intertextuality in the illustrations of the traditional Chinese opera. The sixth chapter focuses on the analysis of how the mutual imitation and transformation between the two symbols of the language and the image are possible, and the intertextuality of "language and graph". Both language and image have their own "grammar" and "syntax", grammatical rules or sense of order, context or correlation domain, multi-layer symbolic action, multi-layer meaning joint and multi horizon conversion, which constitute the multiple symbolic representation of the intertextuality of the "language and graph" of the opera illustrations, while the different symbols are retrieved the same. The seventh chapter discusses the deep mechanism of Intertextuality between the language and the image. The Intertextuality between the language and the image is not the linear correspondence between the language and the image, but the deep inner depth. The formation and conversion mechanism of the formation and conversion mechanism: Qu Wen ("language") intertextuality with the illustration ("map") via the "language" and the illustrations ("pictures") intertextualize with the "image". The reader only has the dual ability of "the image of the language" and "the image language" (the elephant language), and the intertextuality of the "language and the picture" can be truly realized. The eight chapter, from the point of view of the narrative function of the opera illustrations, deepens the deep mechanism of deepening the intertextuality of the "language map". From the perspective of the horizontal combination, the "picture" can be regarded as the "prenarration" of the "text". From the perspective of the longitudinal polymerization, the relationship of "language and map" can be regarded as "narrative time and space body". From the point of view of polymerization, the relationship between "language and graph" is embodied in "spatialization of time", that is, to win space in the process of time. From the perspective of cross combination, the relationship between "language and graph" is embodied in "spatialization of space", that is, to touch time in space exhibition. It is the "prenarration" and "narrative" in the representation system of cross and longitudinal convergence. The formation of time and space is formed, and the intertextuality and multiple meanings of "language diagram" are converged and condensed.
The ninth chapter mainly studies the intertextuality and the gap of the Chinese opera illustrations. The relationship between language and image is very subtle and complicated. There are not only coexistence, intertextuality and complementarity, but also cracks and gaps. The intertextuality of "one picture" and "one picture" is different from the crevice of graphic and text. The two are always maintaining a certain tension relationship, which forms the artistic landscape of "harmony but different" in the relationship between language and image.
The other part puts the illustration into a "criticism". It is not only an appendage to the language text, but also an independent artistic value. This value is not only reflected in the opera illustration itself is an art work, it can leave the language text and exist alone, but more importantly, it embodies the image author ". The view "reflects the interpretation of the text of the language to the text of the image. It embodies the open nature of the interpretation space. The visual expression of" transforming the language into a drawing ", the aesthetic post of" gaze at the foot "and the meaning space of" elephant outside "constitute the critical characteristic of the special critical form of illustration," like the ancient meaning ".
【学位授予单位】：南京大学
【学位级别】：博士
【学位授予年份】：2011
【分类号】：J218.5;J809.2

【参考文献】