本文選題：“文字畫” + 敘事�。� 參考：《南京師范大學(xué)》2017年碩士論文

【摘要】：漢字與拼音文字的區(qū)別在于“字形”的意義,拼音文字的形象沒有獨立的意義,它是聲音在物理層面的“文跡”,它的能指是統(tǒng)一的,這使得拼音文字和“語言”也是統(tǒng)一的。但是字形作為漢字的能指,有著它獨立的意義,包含著特殊的敘事性。蘊含在“字形”層面的特殊的敘事形態(tài)源于漢字與圖畫一脈相承,并且未曾斷絕的關(guān)系。要理解漢字形象所蘊含的意義,就必須要研究漢字成為“漢字”的前一刻,也就是所謂的“文字畫”時期�！拔淖之嫛笔且环N特殊的敘事結(jié)構(gòu),它一方面具備圖畫的基本屬性和結(jié)構(gòu),另一方面它又包含著一些基礎(chǔ)的“造字”思維和符號化的特征。它是圖畫系統(tǒng)向著符號系統(tǒng)演變的一個中間狀態(tài)。而漢字其實是這個中間狀態(tài)的孑遺,甚至仍然處于這個狀態(tài)之中。“文字畫”的敘事形態(tài),展示了漢字所繼承的,原始而特殊的敘事思維:即通過形象構(gòu)建出一個包裹性的外觀世界,通過感官使人陷入并停留在這個外觀世界,全息而瞬時地完成敘事。這與以聲音主導(dǎo)的語言系統(tǒng)的敘事形態(tài)完全不同,后者是通過強制約定的“聲音形象”的符號構(gòu)成觀念世界和邏輯世界,是訴說的、延時的、逐點對應(yīng)的。由于語言以及服從語言的文字符號長期地鞏固著它作為強勢符號的地位,我們的思維和認知世界的意識活動已經(jīng)被它“綁架”了。我們不能想象在“聲音喚起觀念”這種模式之外的敘事。我們不能想象“圖像先于聲音”的真正含義,不能想象世界先于觀念、現(xiàn)象先于邏輯的敘事可能。這造成了語言對圖像、對外觀世界的粗暴圖解,語言所提供的觀念世界成為唯一的敘事可能和唯一有效的“信息”,致使圖畫全息的敘事性在對它“虛”的指責(zé)中蜷縮了,使得圖畫所提供的“包裹性”和“陷入感”只能屬于“審美”的意識活動,敘事成為對這種沉浸和陷入的打斷,這是一個巨大的誤解。觀念和邏輯組織的語言敘事是操縱對象、超越于對象的,而圖像敘事是陷入對象,沉浸于對象的。漢字字形繼承了“文字畫”所展現(xiàn)的全息敘事的思維。它們在以聲音為中心的語言鐵幕中撕開了一個裂口,通過這個裂口,我們得以窺見我們與世界真正的縫隙與隔閡。這是漢字對于我們研究民族的文化心理和人類精神現(xiàn)象的真正啟發(fā)性意義。
[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.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：H12;J205

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