摘要
"汉字图象"是中华民族的"元书写"。"汉字学"经历了古代的深厚积淀,在现代迎来了新的拓展。当代西方学术的进展,尤其是西方哲学中的"语言学转向"和德里达的"文字学",促使我们更为深刻地重新认识自己的"文字学"。"汉字图象"概念的提出,则呼应着当代文化的"图像转向"以及中国学术界的"文学与语言"的转变。中国美学需要注重自身的特殊性,因此,"汉字学转向"是必然趋势;其中"汉字图象"研究的展开是重要一环。构建"汉字图象美学",需要以"汉字图象美学理论构架"为核心,展开"汉字图象各谱系所包涵的美学意蕴"、"汉字图象的生成与还原"两翼。在"汉字图象"研究中,"本质还原"需要经由汉字造字原初情境的直观来实现。如此,汉字图象美学的目标便指向了中华民族的精神现象学。
Hanzi tuxiang汉字图象（literally graphics of Chinese character）is the meta-writing of the Chinese nation. With its long tradition and great achievements,the study of hanzi now enjoys new possibilities. Contemporary western academic developments,especially the linguistic turn in philosophy and Derrida＇s grammatology,encourage us to review our own study of hanzi and thus attain a deeper understanding. The idea of hanzi tuxiang comes out as a result of the ＂graphic turn＂ of contemporary cultural studies as well as the ＂literature and language turn＂ in the Chinese academic circles. Chinese aesthetics needs to realize its own particularity,which means a hanzi-centered turn is inevitable with the study of hanzi tuxiang as an important part. To build the aesthetics of hanzi tuxiang,we＇d better focus on the construction of a theoretic framework while studying both the aesthetic connotation of the genealogy of different hanzi tuxiang＇s as well as their generation and restoration. An examination of the original building process of hanzi is the key to the essencerestoration for the study of hanzi tuxiang. In this sense,the aesthetics of hanzi tuxiang constitutes an important approach to the phenomenological dimension of the spirit of Chinese nation.
出处
《南京师大学报（社会科学版）》
CSSCI
北大核心
2016年第4期148-154,共7页
Journal of Nanjing Normal University(Social Science Edition)
关键词
汉字图象
精神现象
元书写
汉字学转向
hanzi tuxiang
phenomenology of mind
meta-writing
hanzi-centered turn
