【摘要】：漢語(yǔ)與中國(guó)傳統(tǒng)繪畫(huà)雖屬不同門(mén)類,但卻存在相似相通之處,從文化發(fā)生學(xué)的角度來(lái)看,兩者存在著內(nèi)在、有機(jī)的聯(lián)系,具有一定的通約性。從中國(guó)文化的其他樣式——傳統(tǒng)國(guó)畫(huà)入手可反觀漢語(yǔ)的建構(gòu)特點(diǎn),尋找漢語(yǔ)與國(guó)畫(huà)的相似共通之處,通過(guò)對(duì)兩者共性的分析,從一個(gè)全新的角度把握漢語(yǔ)的內(nèi)部特征,體味漢語(yǔ)的獨(dú)特魅力,此研究在一定意義上觸及漢語(yǔ)的靈魂。 本文選取了漢語(yǔ)與國(guó)畫(huà)共有的六個(gè)層面——“具象”“意合”“虛實(shí)”“呼應(yīng)”“視角”“線性結(jié)構(gòu)”為研究對(duì)象進(jìn)行研究,以傳統(tǒng)國(guó)畫(huà)為介入點(diǎn),從語(yǔ)言學(xué)的角度剖析漢語(yǔ)的內(nèi)在特點(diǎn)和不明之處,共分為五大部分。 第一部分緒論主要介紹選題的價(jià)值和意義、研究現(xiàn)狀以及研究的薄弱環(huán)節(jié)和需要解決的問(wèn)題,同時(shí)介紹了論文的研究?jī)?nèi)容及方法。 第二部分通過(guò)具象觀和意合觀這兩個(gè)相對(duì)的角度分析漢語(yǔ)的神形兼?zhèn)?首先分析漢語(yǔ)的畫(huà)意性特征和國(guó)畫(huà)式表現(xiàn)手法,突出漢語(yǔ)的“形”,然后分析漢語(yǔ)的意合特性和超常表達(dá),突出漢語(yǔ)的“神”。 第三部分探討漢語(yǔ)中的虛實(shí)觀和呼應(yīng)觀,首先通過(guò)有形之虛分析漢語(yǔ)中的虛實(shí)結(jié)合,然后通過(guò)無(wú)形之虛分析漢語(yǔ)中特有的省略,最后分析漢語(yǔ)多元化的呼應(yīng)體制。 第四部分探討漢語(yǔ)的視角和線性結(jié)構(gòu),首先分析“散點(diǎn)視”在漢語(yǔ)中的具體體現(xiàn),然后以“竹式結(jié)構(gòu)”為喻分析漢語(yǔ)中特有的線性組合,最后通過(guò)語(yǔ)序闡述線性結(jié)構(gòu)的靈活多變。 第五部分是結(jié)論部分,將論文所探討的主要內(nèi)容進(jìn)行總結(jié),說(shuō)明論文的研究?jī)r(jià)值,并提出仍需進(jìn)一步討論的問(wèn)題。
[Abstract]:Although Chinese and Chinese traditional painting belong to different categories, but there are similarities, from the point of view of cultural genesis, the two have internal, organic links, and have certain universality. Starting with other styles of Chinese culture-traditional Chinese painting, we can look back at the characteristics of Chinese construction, look for the similarities between Chinese and Chinese painting, and grasp the internal characteristics of Chinese from a new angle through the analysis of their commonalities. This study touches on the soul of Chinese in a certain sense by appreciating the unique charm of Chinese. This paper selects six common layers of Chinese and Chinese painting as the object of study, taking traditional Chinese painting as the intervention point, taking the traditional Chinese painting as the intervention point, and taking the traditional Chinese painting as the intervention point, which is "concrete", "parataxis", "virtual reality", "echo", "angle of view" and "linear structure" as the research object. From the perspective of linguistics, there are five parts in the analysis of the inherent characteristics and ambiguities of Chinese. The first part of the introduction mainly introduces the value and significance of the topic, the current research situation, the weak links of the research and the problems to be solved. At the same time, it introduces the research contents and methods. The second part analyzes the spirit and form of Chinese through the two relative angles of concrete view and parataxis view. Firstly, it analyzes the characteristics of Chinese painting meaning and the expression of Chinese painting style, highlighting the "form" of Chinese. Then, the parataxis and supernormal expression of Chinese are analyzed to highlight the "God" in Chinese. The third part discusses the concept of virtual reality and echo in Chinese. Firstly, it analyzes the combination of reality and reality in Chinese through the virtual of tangible, then analyzes the specific ellipsis in Chinese through the virtual of invisible, and finally analyzes the system of echo in Chinese. The fourth part discusses the visual angle and the linear structure of Chinese, first analyzes the concrete embodiment of "scattered point" in Chinese, then uses "bamboo structure" as a metaphor to analyze the unique linear combination in Chinese. Finally, the flexibility of linear structure is explained by word order. The fifth part is the conclusion part, which summarizes the main contents of the paper, explains the research value of the paper, and points out the problems that need to be discussed further.
【學(xué)位授予單位】：青島大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：H13;J212

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