加里·斯奈德的“砾石成道”表意法研究

汉字表意法始于欧内斯特·费诺罗萨对中国象形文字的研究,后经埃兹拉.庞德对其遗稿整理而发明的一种将表面似无关联的细节或意象并置却能自动生成意义的诗歌技巧,从而给美国诗坛带来了空前的革新变化,影响了一大批美国现代派年轻诗人。与其他作家不同,加里.斯奈德没有直接承袭庞氏表意法,而是受中国古诗的影响独自创作出富有山林生活体验的"砾石成道"表意法,这一技巧在其后来的生态诗歌创作过程中日臻完善。本文主要论述斯奈德表意法的形成、特征及其在诗歌中的具体运用。

费诺罗萨、庞德、德里达:表意文字法对西方形而上学的批判

本文以费诺罗萨的表意文字法为研究对象,尝试揭示表意文字法在艺术创作领域、认识论领域和语言本体论领域的意义。表意文字法始于费诺罗萨的汉字研究,最早作为诗歌创作原则出现,表意文字的图像性和动词性赋予了英语诗歌表达动态的可能性;应用于庞德的诗歌和诗学中,表意文字法成为探索经验知识的认识论诗学,对抗了形而上学认识论中的概念、范畴和逻辑;落实于语言批判中,表意文字法与海德格尔和德里达的语言本体论批判一脉相承,挑战了系词和存在在西方形而上学中的中心地位。

试论纳西象形文字的特点——兼论原始图画字、象形文字和表意文字的区别

纳西象形文字是一种比较古老的文字符号,也是目前世界上少有的还流传在民间的活的象形文字。这种文字及《东巴经》对于研究纳西族社会历史和语言文学等是必不可少的重要资料,对于研究和丰富语言文字学、民族学以及人类文化史等,也是极为珍贵的资料。因此,近百年来,国外的若干人士,曾先后收集和研究过这种文字;目前也有若干国家的一些学者,正在不同程度的范围内进行研究。国内的知名学者如方国瑜、傅懋(责力)、李霖灿等先生,

从“视觉形象”到“精确定义”——庞德《诗经》英译中的两种表意解读

表意文字法是庞德翻译的一大特色,在《诗经》英译中大量使用。本文对《诗经》译本中的表意文字法做整体性研究,揭示了其诗学和儒学两种取向。诗学表意解读以实现“形诗”为目的,注重“视觉形象”的呈现,译文偏离汉字原义的自由度较大。儒学表意解读以凸显儒学义理为目的,注重词语的“精确定义”,译文考究词源意义,与汉字原义偏离较小。诗学表意解读多见于《风》与《小雅》,儒学表意解读多见于《大雅》与《颂》。此外,相较于前者,后者表现出更强的互文性。两种表意解读相互映衬,构成了典籍英译的一个独特案例,可以为典籍翻译实践和中国文化传播提供启发。

甲金文东巴文比较研究札记三则

甲骨文金文和纳西东巴文是不同民族的古老文字,考察二者在如何用表意的方法创造表示声音的字、在古老的文献中写一个字要同时读几次的情况及两种文字竖向和横向延展书写形式等方面的异同,有助于促进文字的研究。

中国绘画与汉字六书

中国文人绘画，省略背景，很大程度上是受汉字的影响，这种影响强化了中国画的符号意义。中国文字的象形可分为：整体象形与局部象形，而花鸟画整体与折枝的构图形式恰恰与此相合。另有正面系形与侧面象形，中国动物画则常常采用这种正、侧标本式画法。会意字把意义相关的几个字结合而产生新的意义，中国画惯于打破时空界限，以客观事物的主观组合来表达画家的意趣，并形成某些相对稳定的结构模式。形声字的表意法在绘画中也有相当广泛的运用，它以绘画对象名称的语音乐表达其意义指涉。

从汉字的应用看汉字的性质

关于汉字的性质,目前学术界的认识很不一致,有些观点甚至截然对立。我们认为:汉字性质研究的目的是服务于汉字的教学和应用。所以,对汉字性质的认定必须立足于汉字的不同应用环境,只有在这个前提下才能考察汉字所体现出的具体性质特征。

庞德对汉字的接受与误读

庞德对现代诗歌的一大贡献就是他在《诗章》中使用了大量汉字。他对汉字的拆解不仅帮助他理解字意 ,而且帮他深入触及相关的文化含义 ,然而错误的拆解使他出现很多牵强附会。

Cultural Connotation of Landscape Plants and Its Expression in Landscape Design

This paper analyzes and summarizes the historical humanity significance of plants of personality, culture and auspicious symbol reflected in gardens and the expression methods of landscape plants in modern landscape design, which provides more connotation culture support for the application of landscape design.

E. A. Poe＇s The Masque of the Red Death： Symbol vs. Allegory？

The paper is concerned with E. A. Poe＇s unique symbolic method as manifested in his tale The Masque of the Red Death. It offers a picture of the general state of critical treatment of the supposed opposition between allegory and symbol. I present a historical overview of how the distinction between the literary terms arose, tracing the roots of the issue to the end of the 18th century and showing its development over the next two centuries. The second section of the paper is devoted to the analysis of The Masque in the light of the theoretical background provided in the opening section. The Masque is interpreted in terms of Poe＇s modulation of＂closed＂ and ＂open＂ symbolism by focusing on aspects of the story that relate to the use of numbers, colors, and time.

Financial Statement Valuations in Italian Accounting Thought Between the 19th and the 20th Century： From ＂Exchange Value＂ to ＂Historical Cost＂

The main subject of this paper is the theory of financial statement valuations observed in its historical development. More notably, regarding the subject, the research is concerned with some theoretical concepts developed by the Italian doctrine in a very specific age, namely, between the 19th and the 20th century, which in fact, devoid of any accounting regulation. This paper analyzes in particular the shift from the exchange value rule to the historical cost method and tries to explain the reasons of such a development. In the second half of the 19th century, some of the best Italian scholars, who were faced with the need to properly develop the problem of accounting valuations, thought that it was appropriate to rely on concepts that belonged to similar sciences, such as economics and real estate appraisal, by blindly borrowing the theory of value from the former and the theory of valuations from the latter. During that age, everything hinged around the concept of exchange value. At the dawn of the 20th century, the Italian accounting doctrine began to wonder about a subject that was crucial to the financial statement theory： the informative purposes underlying the financial statements. At the same time, the first principle took shape, which might be called as the ＂finalistic principle of value＂. It is still the basis of the theory of financial accounting measurements, for which different evaluative criteria must be applied to different informative purposes. Thus, an alternative criterion to that of the exchange value makes its appearance on the scene of the accounting valuations, notably the historical cost. The introduction of the historical cost criteria and above all the relinquishment of the combination of the ＂economic cost＂ in favor of that of the ＂manufacturing cost＂ allow the Italian accounting to get rid of the theories of economics and real estate appraisal, thus, becoming independent regarding the financial statement valuations.

庞德儒家经典翻译对时代诗歌抒情方式的革新

20世纪上半叶的英美诗歌是维多利亚诗歌的延续,这一时期的诗歌抒情模式是为抒情而抒情,在一定程度上导致了情感泛滥。本文基于庞译儒家经典的翻译实践,结合其时代诗歌的抒情方式,探讨庞德儒家经典英译对时代诗歌抒情方式的革新。文章认为,作为伟大的现代主义诗人与翻译家,庞德在自己的儒家经典翻译实践中通过表意文字法在翻译中努力呈现原文的意象与细节,让翻译文字充满能量,这与他早期的意象主义与漩涡主义诗学相一致。庞德的翻译实践是对时代诗歌抒情方式的反叛与革新,体现了庞德作为现代主义诗人“日日新”的创新诗学。

翻译与表现:读钱兆明主编《庞德与中国》

本文通过解读钱兆明主编的《庞德与中国》一书,探讨了美国著名诗人庞德与中国的关系,以及这个领域的研究在西方的最新发展。本文从庞德研究吸引中国学者这一现象以及背后的文化因素入手,探讨了庞德的中国诗歌翻译的得与失,以及他的翻译与原创诗歌的关系。更重要的是,本文探讨了庞德所表述的"中国"与真正的中国的关系,从而澄清了庞德"发明"中国的历史背景和真正意图。

庞德视汉语为理想语言的依据及其意义

庞德以印欧语系为参照审视汉语,主要比较英汉语言的共性和差异,从诗学的视角凸显汉语的优点,认为汉语是世界的理想语言他从汉字中汲取思想和灵感,提出了表意文字法,倡导现代主义诗歌运动,推动英语诗歌变革,不仅在一定程度上改变了英语文学的路径,也促进了中国表意文字文明在西方的传播。庞德认为汉字的视觉化呈现具有普遍意义;他发掘汉语作为诗性语言建构智性结构的意义,为表意文字文明辩护;并将表意文字法运用于诗歌创作中,展现语言对世界承载的责任。庞德视汉语为理想语言,具有一定的理论支撑和事实依据(虽然也包含一些主观想象、穿凿附会的成分),对于反思西方理性文明和重振西方诗学具有启发意义。