《文心雕龙》的元符号观

On Meta-sign in Wenxin Diaolong

元符号是“符号之符号”或“再现之再现”。使用元符号是人类所独有的能力,在人类世界中普遍存在,但是在部分情况下,元符号性可能更加明显。元符号性陡升,既会推动符号增值,亦会抹除原初意义,然而其结果都往往是符号与事物相分离,符号自身推动符号演进。南朝文章即是如此,为了超越前人成就,南朝文人推崇形式创新,有意凸显古今差异,在事实上呈示出高度的元符号性。这种特征虽携带一定的价值,但是亦遭到了不少学者的批评与质疑。刘勰在《文心雕龙》中便拒斥这种元符号化,并提出了另一种近似无限衍义的元符号观,显示出追溯原初意义,稳步推进符号升级的符号学立场。

A meta-sign is a sign used in a metalanguage to represent an arbitrary collation in the object language.However,in some cases,t ht e signification of a meta-sign becomes more obvious.MI etasemiotisation not only increases the value of the sign but also erases its original meaning.In this process,signs are commonly separated from their objects,and signs themselves promote the further evolution of signs.This occurred in the articles of the Southern Dynasties.To surpass their predecessors'achievements,each literati cohort in the Southern Dynasties advocated an innovation in stylistics,with the intention of highlighting the differences between ancient and modern times.This process exhibited a high degree of meta-semiotisation.Although this feature has a certain value,it has also been criticised by many scholars.In Wenxin Diaolong,Liu Xie rejects this concept of meta-semiotisation and proposes another meta-semiotised concept:unlimited semiosis.He outlines his approach to semiotics,which involves tracing a sign back to its original meaning and understanding the gradual upgrading of signs.