中国古代小说关于坐立姿态描写的修辞阐释

The Rhetoric Connotations of Chinese Ancient Novels’Descriptions About Sitting and Standing Postures

从现代身势学和文化修辞学的视角看,以“坐”与“立”为主的人物姿态是一种角色扮演的生存寓言,中国古代小说关于这些姿态的描写包涵着修辞性的文化规则和讯息编码。首先,它们是“主坐从立”以及“序齿而坐”等伦理规范的演示,是社会角色扮演的秩序化写照。其次,由职业性质决定的“文坐武立”以及由体质状况决定的“体弱多坐”现象,也形成中国古代小说艺术园地里的道道景观,尤其是《三国志演义》关于诸葛亮的坐态以及关羽的立姿等造型性描写颇耐寻味。说到底,中国古代小说关于坐态立姿的描写是人物“生存寓言”的投射,特别是种种坐态描写更包含着哲理化的政治修辞和宗教修辞意蕴。

From the viewpoint of the modern kinesics and popular cultural rhetoric, the personage specializing in “sitting” and “standing” postures is the existence fable that a kind of role acts.The description about these gestures in the Chinese ancient novels consists of much rhetoric cultural codex and message coding. Firstly, they are such demonstrations with normal ethics as “host sits and servant stands” and “siting according to order”, etc.,and it is the order portrayal that the social role acts. Secondly, the phenomenon of “scholar sits and military officer stands” determined by positions forms the views in the artistic field of the Chinese ancient novels too. The model description is quite able to bear thinking over especially about Guan Yu’s standing gesture and Zhu Ge-liang’s sitting posture in “the Three Kingdoms Historical Romance”. After all, the description about the standing and sitting gestures in Chinese ancient novels is the expressions of “existence fable”, especially all sorts of descriptions about sitting position are included by political rhetoric and religion rhetoric connotations of philosophical theory.