本文關鍵詞： 漢字 《說文解字》 集體無意識 原型　出處：《寧夏大學》2013年碩士論文　論文類型：學位論文

【摘要】：在一些古老民族與原始部落的文化與傳統(tǒng)儀式中、在形形色色的宗教象征與儀式上都可以找到集體無意識的影子。當然作為中華文化重要組成部分的漢字,其中也包含了大量的集體無意識信息。漢字作為我們記錄語言、交流思想的工具,有著悠久的歷史和豐富的文化信息。漢字至今已有將近5000年的歷史,它的起源就是中國古代文明的起源,它的發(fā)展就是中國古代文明的發(fā)展史。漢字是古代先民勞動的結晶,是他們對客觀世界的反應和認識。其表意的特征更是古代生產生活、自然地理、社會風俗的真實寫照。所以說集體無意識在古文字中是無所不在的。本文分別從漢字創(chuàng)造中的集體無意識成因入手,分析了漢字中集體無意識的自然成因,漢字中集體無意識的社會成因,漢字中集體無意識的地理成因和漢字中集體無意識的“內”、“外”信息刺激成因。接下來以漢字為中心展開了漢字的原型批判：包括陰影原型、人格面具、自性原型、阿尼瑪與阿尼姆斯這四類集體無意識中最基本的原型。最后對漢字創(chuàng)造中的集體無意識進行了探究,探討了集體無意識對于造字智慧的影響,集體無意識對于漢字形體的影響,集體無意識對于漢字構型的影響以及集體無意識對于象形會意字的影響。最后得出結論：作為以漢字為母語的中國人,對漢字簡直是太熟悉了。自幼由漢字伴隨著長大,每天讀書寫作,像空氣與食糧一樣與漢字朝夕不離；盡管如此,我們仍然對漢字感到神奇,心中始終擁有一種無限的感激。誠如許慎所言：“蓋文字者,經藝之本,王政之始,前人所以垂古,后人所以識古。故日：‘本立而道生’,知天下之至嘖而不可亂也。”漢字文化心理的研究學對歷史文化的把握有其獨特的意義,但也有其局限,因為漢字雖然以象形為基礎,為我們梳理文化脈絡有其長處,但象形符號畢竟不是客觀圖形的反映。同時,用漢字本身去反映社會歷史文化,在具有客觀性、整體性和不可取代性的同時,畢竟在量化和具體過程和細節(jié)等方面,還有其自身所不能克服的局限。對此,我們還需要進一步更深入的研究。
[Abstract]:In the cultural and traditional rituals of some ancient nationalities and primitive tribes, the shadow of collective unconsciousness can be found in various religious symbols and rituals. Of course, as an important part of Chinese culture, Chinese characters can be found. It also contains a large number of collective unconscious information. As a tool to record language and exchange ideas, Chinese characters have a long history and rich cultural information. Chinese characters have a history of nearly 5000. Its origin is the origin of ancient Chinese civilization, its development is the history of ancient Chinese civilization. It is their reaction to the objective world and their understanding. The characteristics of their ideas are ancient production and life, natural geography. Therefore, collective unconscious is omnipresent in ancient Chinese characters. This paper starts with the causes of collective unconscious in the creation of Chinese characters, and analyzes the natural causes of collective unconsciousness in Chinese characters. Social causes of collective unconsciousness in Chinese characters, geographical causes of collective unconsciousness in Chinese characters and "inner" of collective unconscious in Chinese characters. The causes of "external" information stimulation. Then, the prototype criticism of Chinese characters is carried out, including shadow archetypes, personality masks, and self-nature archetypes. Anima and Anims are the most basic archetypes of the collective unconsciousness. Finally, the author probes into the collective unconscious in the creation of Chinese characters, and discusses the influence of the collective unconscious on the wisdom of character creation. The influence of collective unconscious on the form of Chinese characters, the influence of collective unconscious on the configuration of Chinese characters and the influence of collective unconscious on pictographic conjunctive characters. I am too familiar with Chinese characters. Since childhood, I have been growing up with Chinese characters, reading and writing every day, like air and food. Nevertheless, we still feel magical about Chinese characters, and always have an infinite gratitude in our hearts. As Xu Shen put it, "those who cover the characters, the foundation of the art of the classics, the beginning of the king's government, so the forefathers hang the ancient times." Later generations knew the ancient times. Therefore, "the study of the psychology of Chinese character culture has its unique significance in grasping history and culture, but it also has its limitations. Although Chinese characters are based on pictographs, it has its advantages to comb the cultural context for us, but the pictographic symbols are not the reflection of objective graphics after all. At the same time, the use of Chinese characters to reflect social history and culture is objective. At the same time of integrity and irreplaceable, after all, there are some limitations which can not be overcome by itself in the aspects of quantification, concrete process and detail, etc.
【學位授予單位】：寧夏大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：H122

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本文編號：1459552