论语图符号学视野中庄子的象

Imagery in Chuang Tzu from the Perspective of Pictorial-Linguistic Semiotics

本文从语图符号学角度考察了庄子语言活动所具有的图像性的缘由。庄子在他的作品中呈现了一个图像化的道的世界,作为语言艺术的文学可为图像化世界的描述提供帮助,这就决定了庄子需要用象的言说方式。庄子在语言表述世界过程中更多突出语言的诗学功能,而不是语言的指称功能,突出诗意化了的象,而不是专名之象。另外,庄子不是一般的诗人,而是诗人哲学家,这也决定了他对象的使用是与道的境域生成有关,而象的一种:言绘,比较接近于模拟身体性实践活动,特获庄子青睐,被用来展现以技进道的场景。从语图符号学角度揭示庄子形象型语言,将成为研究庄子象说特点及形成的另一途径。

This article tries to investigate the representation of the world from Chuang Tzu＇s language, and also to examine the ground on which Chuang Tzu＇s language activities contain imagery. It argues that Chuang Tzu represented the world by visualizing Tao, or the Way. The fact that literature is a form of language art provides help for describing the visualization of the world. Therefore, this determines that Chuang Tzu employs imagery for expression. Chuang Tzu gives prominence to the poetic function rather than referential function in his language during the process of linguistic expression. Such a feature emphasizes the poetic turn of image, rather than the image of notional words. In addition, Chuang Tzu is not merely a poet, but a poet philosopher. His method to utilize image is also determined by his unique identity, and connected with the generation of Tao. In particular, one part of the image representation, Ekphrasis, which is very close to imitating the practical bodily activities, is particularly favored by Chuang Tzu.