摘要
首见于《周礼》、经由《说文解字》表述的汉字六书,亦即象形、指事、会意、形声、转注、假借,是最早的汉字构造理论。汉字六书背后的思想代表了一种“元认知”,即认知的认知,是中国古人对万象万物进行分类的源头,早已深深嵌入中华文化,成为稳定的核心理念。汉字的特点不仅仅在于笔画形体,还在于其“形”、其“气”、其“神”的互融不分,在于通过这种互相关联中体现的指号学整体观、互动观、创新观,蕴含了“兼和相济”“生生不息”的理念。汉字六书不可分割,不能只看象形不看指事、会意,也不能只看形声不看转注、假借,其各种构成和用法必须“协同合作”才能充分显露特色、发挥作用。汉字六书代表的哲理和皮尔士指号学理论多有相合之处,或毋宁说,汉字六书更适合用皮氏指号学理论做分析和研究。汉字六书中也包含皮氏指号论的物感物觉(征象)、物物相指(对象)、象征意义(释象)这三个要素(只是这三个要素的分布有所不同)。文章专门抽取其庞大理论体系中的象似(icon)、标指(index)、象征(symbol),变通为物象、传通、寓意三要素,称之为“汉字三翼”,即物象、传通、寓意,借“汉字三翼”从汉字文化的探索性指号分析,从“三元”“三翼”角度进一步讨论指号学理论,同时也比较索绪尔符号学理论和皮尔士指号理论之间的一些重要差异,不求全面,只求管窥,力图超越二元对立观,走出“皮相”,回归感官,并且让“形”“神”相连、心物交合。索绪尔的符号理论属于“声音中心主义”,他的理论不关心形物、描摹和“自然逻辑”,只关心“约定俗成”、语言系统的“内部规律”和普遍性。从皮尔士指号理论看,指号活动、指号过程离不开物感物觉的像似性、物物相指的标指性和约定俗成的象征性,这三个构成成分需要交融一体,不断�
The Six Classes of Chinese Characters,the earliest theory on the makeup of Chinese characters,were first mentioned in Zhou Li via Shuo Wen Jie Zi,consisting of Pictographs,Ideographs,Compound Ideographs,Phonetic Compounds,Interpretive Shifters,and Loan Characters.The Six Classes embodies a thinking of’meta-cognition’,that is,’the recognition of recognition’,representing the primal idea of cosmological classification,and is embedded in the Chinese Culture as its stable,core idea.The features of Chinese characters are not limited to their logographic forms.What is more,they are also best known for their mutual participation that involves Forms(Xing),’Stream of Energy’(Qi),and’Spirit’(Shen),and their semiotic integration,interactivity,and creativity.There is the idea of dialectic mutual conditioning and ceaseless creativity.The Six Classes are not to be separated.It will not do to focus only on Pictographs and lose sight of Ideographs,Compound Ideographs,or focus only on Phonetic Compounds and lose sight of Interpretive Shifters and Loan Characters.All the constituents and the functioning thereof must’coordinate’in order to play their best,most special role.The philosophical thinking that Six Classes represent largely overlap with the Peircean semiotics.Or,rather,the Peircean semiotic theory is better suited for analyzing and studying the Six Classes,which also have the components of sign,object,and interpretant though they have different distributions.Here we draw on triadic objectivity of Peirce’s complex theory,which includes iconicity,indexicality,and symbolism,and modify them into the’Three Wings’of Chinese characters,that is,Material Form,Connection,Meaning.With the help of the analysis of Peircean trichotomy and the Three Wings of the Chinese writing,we compare Saussurean semiology with Peircean semiotics,only in a limited way,not comprehensively,and try to overcome dualistic opposition,going back to senses,for the sake of reconnecting substance with the’soul’.While Saussurean se
作者
纳日碧力戈
陶染春
Naran Bilik;TAO Ran-chun(School of Social Development and Public Policy,Fudan University,Shanghai 200433,China)
出处
《贵州民族研究》
CSSCI
北大核心
2022年第6期91-98,共8页
Guizhou Ethnic Studies
基金
国家社会科学基金重大项目“构建中华各民族共有精神家园的少数民族视域研究”(项目编号:17ZDA152)
国家民委民族研究基地项目“促进各民族交往交流交融研究”(项目编号:2021-GMG-035)
甘肃省民委委托河西学院项目“河西走廊民族团结和历史文化研究”(项目编号:H2020027)的阶段性成果。
关键词
汉字
皮尔士指号学
物象
传通
寓意
Chinese Characters
Peircean Semiotics
Material Forms
Connection
Meaning
