本文選題：“語-圖”互文 + 明刊本　； 參考：《南京大學(xué)》2011年博士論文

【摘要】：語言與圖像的關(guān)系既是一個理論問題又是一個現(xiàn)實問題,既有傳統(tǒng)淵源又有現(xiàn)實新變。語言與圖像盡管分屬不同的符號系統(tǒng),功能也迥然有異,卻又各有所長。探討語圖關(guān)系,不應(yīng)過多地強(qiáng)調(diào)它們之間的對立,而要著眼于二者之間的比照和互文；不能僅訴諸于幾個空洞口號,而應(yīng)以“文本”為依托,從中歸結(jié)出圖文表現(xiàn)的基本型態(tài)和互文現(xiàn)象的內(nèi)在規(guī)律。本文將從明刊戲曲插圖本入手,著力探討“語言”與“圖像”之間的多重互文關(guān)系,歸納其呈現(xiàn)型態(tài),探討其深層機(jī)理,把握其內(nèi)在張力,并把插圖提升為一種“批評形態(tài)”,試圖從學(xué)理層面建構(gòu)起“語-圖”互文研究的基本框架。 第一章主要梳理明刊本戲曲插圖的傳承與演變。中國古代戲曲插圖經(jīng)歷了元代發(fā)端、明代繁盛、清代衰落的發(fā)展歷程。而在戲曲插圖“光芒萬丈”的明代,又呈現(xiàn)出插圖位置、插圖版式、插圖類型等方面的多元形式嬗變,從“文之飾”到“敘事畫”再到“曲意圖”的多種功能演變,以及“意義的形式”、“意圖的形式”和“意味的形式”的多重視域融合。 第二章著重分析明刊戲曲插圖本“語-圖”互文的顯性呈現(xiàn)。對于戲曲插圖本而言,“圖”各有異,“文”亦多變,二者之間不同的組合關(guān)系和呈現(xiàn)方式,構(gòu)成了“語-圖”互文的各種型態(tài)：一是“因文生圖”,包括圖文對照、圖略于文、圖繁于文等；二是“圖中增文”,包括附加說明式、情節(jié)提示式、題畫詩式等；三是“圖外衍文”,即圖像證史。 第三至第五章分別從戲曲插圖與戲曲語匯、插圖文人化與戲曲文人化、“遠(yuǎn)取”與“近譬”三個方面,重點分析了明刊戲曲插圖本“語-圖”互文的深層表達(dá)和隱性呈現(xiàn)。第三章從戲曲開場、戲曲科介、戲曲唱詞、戲曲評點、戲曲時空處理藝術(shù)、戲曲傳播等方面,分析了戲曲插圖與戲曲語匯之間的隱性互文。明代戲曲插圖雖然無法像其它戲曲藝術(shù)元素那樣可以用語言直接述說,卻一直在用一種特殊的圖像語匯實現(xiàn)對語言文本的轉(zhuǎn)譯和穿越。第四章著力分析插圖文人化與戲曲文人化之間的隱性互文。明代戲曲的文人化進(jìn)程,不僅體現(xiàn)在戲曲語言文本中,還體現(xiàn)在戲曲插圖文本中。戲曲插圖由“照扮冠服”的舞臺性,一步步發(fā)展為“象意相生”的抒情性、“美侖美奐”的裝飾性；從當(dāng)初重視舞臺效果、著力營造“寫實空間”,一步步呈現(xiàn)出極具文人化色彩的“詩意空間”和“形式空間”,并最終演變?yōu)槲娜藢W(xué)者的“案頭清玩”。圖文關(guān)系也由原來圖對文的亦步亦趨、若即若離,變得漸行漸遠(yuǎn),插圖的文人化色彩和藝術(shù)獨立性不斷增強(qiáng)。因而,在“文人化”這一接合點上,明刊戲曲插圖本形成了更為隱蔽、更加深刻的“語-圖”互文。第五章呈現(xiàn)的是戲曲插圖與“先在之語”(遠(yuǎn)取)和“繪畫語匯”(近譬)之間的隱性互文。戲曲插圖不僅與其緊緊依附的戲曲語言文本相關(guān)聯(lián),還與此前存在的其他語言文本(“先在之語”)構(gòu)成隱秘的互文性關(guān)聯(lián),即“遠(yuǎn)取”；同時還與借鑒和吸收同時代的繪畫資源并融入時代圖景或個人元素的“繪畫語匯”形成互文性關(guān)系,即“近譬”。無論是“遠(yuǎn)取”還是“近譬”,均構(gòu)成一個潛在的文本,與戲曲圖像構(gòu)成新型互文關(guān)系,并呈現(xiàn)出表層互文與深層互文、縱向互文與橫向互文、外在互文與潛在互文、同質(zhì)互文與異質(zhì)互文等多重“語-圖”互文形態(tài)。 在前面幾章歸納“語-圖”互文的顯性呈現(xiàn)與隱性呈現(xiàn)的基礎(chǔ)上,第六至第八章重點探討的是明刊戲曲插圖本“語-圖”互文的深層機(jī)理問題。第六章著重分析的是語言與圖像兩種符號之間的相互模仿和轉(zhuǎn)換何以可能,“語-圖”互文又如何在符號層面上得以實現(xiàn)。語言與圖像都擁有各自的“文法”與“句法”、語法規(guī)則或秩序感、語境或關(guān)聯(lián)域。多層符號行動、多層意義接合和多層視域轉(zhuǎn)換,構(gòu)成了戲曲插圖本“語-圖”互文的多重符號表征；而不同符號擷取相同意象、外在動作傳遞內(nèi)在情感、視覺形象再現(xiàn)聽覺反應(yīng),則構(gòu)成了“語-圖”符號之間的聯(lián)覺同構(gòu)。第七章從“語象”與“象語”角度探討“語-圖”互文的深層機(jī)理問題�！罢Z-圖”互文不是語言與圖像之間的直線式對應(yīng),而為內(nèi)部深層的生成與轉(zhuǎn)換機(jī)制所規(guī)約：曲文(“語”)經(jīng)由“語象”而與插圖(“圖”)互文,插圖(“圖”)經(jīng)由“象語”而與曲文(“語”)互文。讀者只有具備“化語成像”(語象)與“化圖為語”(象語)的雙重能力,“語-圖”互文才可能真正實現(xiàn)。第八章則從戲曲插圖本的敘事功能的角度,進(jìn)-步深化“語-圖”互文的深層機(jī)理研究。從橫組合角度看,“圖”可以被視為“文”的“預(yù)敘”：從縱聚合角度看,“語-圖”關(guān)系可以視為“敘事時空體”。而單就“敘事時空體”來說,從縱聚合角度看,“語-圖”關(guān)系體現(xiàn)為“時間的空間化”,即在時間進(jìn)程中贏取空間；從橫組合角度看,“語-圖”關(guān)系體現(xiàn)為“空間的時間化”,即在空間布展中觸及時間。正是在橫組合和縱聚合交錯而成的表征系統(tǒng)中,“預(yù)敘”和“敘事時空體”得以形成,“語-圖”之間的互文關(guān)系和多重意指得到匯聚與凝結(jié)。 第九章主要研究戲曲插圖本“語-圖”互文與圖文縫隙問題。語言與圖像關(guān)系問題十分微妙而復(fù)雜,它們之間不僅有共存、互文、互補(bǔ)的一面,同時還存有裂縫和空隙。戲曲插圖本的圖文縫隙有“符號縫隙”、“行為縫隙”、“接受縫隙”等類型。“語一圖”互文與圖文縫隙同體異面,二者始終保持著一定的張力關(guān)系,構(gòu)成語言與圖像關(guān)系中“和而不同”的藝術(shù)景觀。 余論部分則將插圖上升為一種“批評”。明刊本戲曲插圖已不只是語言文本的附庸,而具有獨立的藝術(shù)價值。這種價值不僅體現(xiàn)在戲曲插圖本身即是一件藝術(shù)作品,它可以離開語言文本而單獨存在,更為主要的是它體現(xiàn)著圖像作者的“視點”,體現(xiàn)著圖像文本對語言文本的一種詮釋,體現(xiàn)著闡釋空間的敞開性。“化語成圖”的直觀表現(xiàn)、“駐足凝視”的審美驛站、“象外之象”的意蘊(yùn)空間,構(gòu)成插圖這一特殊批評形態(tài)“以象詁意”的批評特性。
[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 ".
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2011
【分類號】：J218.5;J809.2

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相關(guān)期刊論文 前10條

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本文編號：2051606