时代的神智—汉字形与意的思辨

发布时间：2018-03-11 05:22

本文选题：字形　切入点：字意　出处：《大连工业大学》2013年硕士论文　论文类型：学位论文

【摘要】：一轮明日初生在天海一线之间，这是具有时间指向的“旦”字；一民居室内中央置放一头待待宰杀的家猪，就便是“家”字。“家”这个字形象表现了所处遥远时代的民众对于“家”的概念的朴素理解。汉字的字形视觉表现了所要传达的字意，造字者对于字意的理解又受所处时代文化及自然的影响，同时字形在千年演化中成为中国特有的文化部类——书法。书法成为了文人抒怀的自表达我方式。字形，乃汉字之画，之表，，之体，是意之具象载体；字意，乃汉字之魂，之义，之质，是符号化后的人文与传承。字形与字意于汉字之双灵，时聚时隔却为一体，互渗难分却各有所指。汉字文明源远流长，古代汉字字体大致经过了篆、隶、草、楷及行书的字体发展演化，这个发展脉络并不是这一种对先前字体形态的进化淘汰，而是能每种字体可同时代共处、和谐交映，前字体可成为某种参照或者创造动力。种种演化，虽然官方时有介入，但推动其向前发展的母体依然是人类心中对于美感的追求。演化万种，发展多端，字体始终是字意的视像传达。新中国成立以后，先是编制《常用简体字登记表》，后在1956年正式公布《汉字简化方案》，这场为时7年的汉字简化运动是两千年来继秦王一统六国后官方发起的最大规模最彻底的汉字革命。而这场革命不过是汉字拉丁化的第一阶段，它最终指向的是以拼音代替汉字。这场拼音化运动，致力划清传统和新时代界限时，也把汉字形与意的丝带大力斩断。在当代，随着世界多元文化的渗透、网络语言的影响，汉字一时呈现出碎片化的霓虹万象对字形与字意的研究不止停留在美学领域，通过社会学、符号学、语言学方面的研究，剖析两者更深的关系。基于此次研究分析的系统与明晰，把汉字历史化为三个阶段：第一阶段是自汉字文明开始到20世界初新文化运动，此为汉字古典期。第二阶段从新文化运动至1986年国务院对《第二次汉字简化方案》的废止，此为汉字现代革命期。第二阶段从1986年至今，为汉字后革命重建期。每个时期汉字都对所处时代深有体现，每个时期都有时代烙印，兹此把三个时期在字形与字意的突出特征进行论述与研究。
[Abstract]:A round of tomorrow is born between the line of the Tianhai, this is the word "Dan" with the direction of time; in the center of a people's room, there is a domestic pig waiting to be slaughtered. It is the word "home". The image of "home" shows the simple understanding of the concept of "home" by the people of the distant times. The glyph of Chinese characters shows the meaning of the words to be conveyed. The character maker's understanding of the meaning of the word is also influenced by the culture and nature of the time in which it is located. At the same time, the character form has become the unique Chinese culture ministry of calligraphy in the millennia. Calligraphy has become the self-expression method of the literati's expression of his feelings. The character form is the painting of Chinese characters. The form of character, the body of meaning, is the concrete carrier of meaning; the word meaning is the soul, meaning and quality of Chinese characters, and it is the humanism and inheritance after symbolization. The civilization of Chinese characters has a long history. Ancient Chinese characters have generally undergone the development and evolution of seal, scribe, grass, block letters and running script. This development is not a result of this evolution of the former font form. Instead, each type of font can coexist in the same era and be reflected in harmony, and the former font can be a reference or a force for creating something. All sorts of evolution, although the government has been involved from time to time. But the mother of its development is still the pursuit of aesthetic feeling in human heart. It evolves ten thousand kinds, develops many ends, and the font is always the visual transmission of word meaning. After the founding of New China, First, the "Registration form of Common simplified characters" was compiled, and then, on 1956, the "simplified Chinese character Program" was officially announced. This seven-year Chinese character simplification campaign is the largest and most thorough Chinese language officially launched since the unification of the Qin King and the six Kingdoms in the past two thousand years. The Chinese character revolution. And this revolution is only the first stage of the Latinization of Chinese characters. It ultimately points to the replacement of Chinese characters with pinyin. When the movement of pinyin was devoted to drawing the boundaries between tradition and the new era, it also vigorously cut off the ribbon of Chinese characters' form and meaning. In the contemporary era, with the penetration of the world's multiculturalism and the influence of the network language, At one time, Chinese characters showed a fragmented neon panorama. The study of glyph and meaning is not only in the field of aesthetics, but also through the study of sociology, semiotics and linguistics. The history of Chinese characters is divided into three stages: the first stage is from the beginning of Chinese civilization to the beginning of the 20th century new culture movement, which is the classical period of Chinese characters, the second stage is from the New Culture Movement to the abolition of the second simplified Plan of Chinese characters by the State Council in 1986. This is the period of the modern revolution of Chinese characters. The second stage, from 1986 to the present, is the period of the post-revolutionary reconstruction of Chinese characters. In this paper, the three periods in the font and the meaning of the prominent characteristics of the discussion and research.
【学位授予单位】：大连工业大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：H12

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