【作者】 张玉勤；

【导师】 赵宪章；

【作者基本信息】 南京大学 ， 文艺学， 2011， 博士

【摘要】 语言与图像的关系既是一个理论问题又是一个现实问题,既有传统渊源又有现实新变。语言与图像尽管分属不同的符号系统,功能也迥然有异,却又各有所长。探讨语图关系,不应过多地强调它们之间的对立,而要着眼于二者之间的比照和互文；不能仅诉诸于几个空洞口号,而应以“文本”为依托,从中归结出图文表现的基本型态和互文现象的内在规律。本文将从明刊戏曲插图本入手,着力探讨“语言”与“图像”之间的多重互文关系,归纳其呈现型态,探讨其深层机理,把握其内在张力,并把插图提升为一种“批评形态”,试图从学理层面建构起“语-图”互文研究的基本框架。第一章主要梳理明刊本戏曲插图的传承与演变。中国古代戏曲插图经历了元代发端、明代繁盛、清代衰落的发展历程。而在戏曲插图“光芒万丈”的明代,又呈现出插图位置、插图版式、插图类型等方面的多元形式嬗变,从“文之饰”到“叙事画”再到“曲意图”的多种功能演变,以及“意义的形式”、“意图的形式”和“意味的形式”的多重视域融合。第二章着重分析明刊戏曲插图本“语-图”互文的显性呈现。对于戏曲插图本而言,“图”各有异,“文”亦多变,二者之间不同的组合关系和呈现方式,构成了“语-图”互文的各种型态：一是“因文生图”,包括图文对照、图略于文、图繁于文等；二是“图中增文”,包括附加说明式、情节提示式、题画诗式等；三是“图外衍文”,即图像证史。第三至第五章分别从戏曲插图与戏曲语汇、插图文人化与戏曲文人化、“远取”与“近譬”三个方面,重点分析了明刊戏曲插图本“语-图”互文的深层表达和隐性呈现。第三章从戏曲开场、戏曲科介、戏曲唱词、戏曲评点、戏曲时空处理艺术、戏曲传播等方面,分析了戏曲插图与戏曲语汇之间的隐性互文。明代戏曲插图虽然无法像其它戏曲艺术元素那样可以用语言直接述说,却一直在用一种特殊的图像语汇实现对语言文本的转译和穿越。第四章着力分析插图文人化与戏曲文人化之间的隐性互文。明代戏曲的文人化进程,不仅体现在戏曲语言文本中,还体现在戏曲插图文本中。戏曲插图由“照扮冠服”的舞台性,一步步发展为“象意相生”的抒情性、“美仑美奂”的装饰性；从当初重视舞台效果、着力营造“写实空间”,一步步呈现出极具文人化色彩的“诗意空间”和“形式空间”,并最终演变为文人学者的“案头清玩”。图文关系也由原来图对文的亦步亦趋、若即若离,变得渐行渐远,插图的文人化色彩和艺术独立性不断增强。因而,在“文人化”这一接合点上,明刊戏曲插图本形成了更为隐蔽、更加深刻的“语-图”互文。第五章呈现的是戏曲插图与“先在之语”(远取)和“绘画语汇”(近譬)之间的隐性互文。戏曲插图不仅与其紧紧依附的戏曲语言文本相关联,还与此前存在的其他语言文本(“先在之语”)构成隐秘的互文性关联,即“远取”；同时还与借鉴和吸收同时代的绘画资源并融入时代图景或个人元素的“绘画语汇”形成互文性关系,即“近譬”。无论是“远取”还是“近譬”,均构成一个潜在的文本,与戏曲图像构成新型互文关系,并呈现出表层互文与深层互文、纵向互文与横向互文、外在互文与潜在互文、同质互文与异质互文等多重“语-图”互文形态。在前面几章归纳“语-图”互文的显性呈现与隐性呈现的基础上,第六至第八章重点探讨的是明刊戏曲插图本“语-图”互文的深层机理问题。第六章着重分析的是语言与图像两种符号之间的相互模仿和转换何以可能,“语-图”互文又如何在符号层面上得以实现。语言与图像都拥有各自的“文法”与“句法”、语法规则或秩序感、语境或关联域。多层符号行动、多层意义接合和多层视域转换,构成了戏曲插图本“语-图”互文的多重符号表征；而不同符号撷取相同意象、外在动作传递内在情感、视觉形象再现听觉反应,则构成了“语-图”符号之间的联觉同构。第七章从“语象”与“象语”角度探讨“语-图”互文的深层机理问题。“语-图”互文不是语言与图像之间的直线式对应,而为内部深层的生成与转换机制所规约：曲文(“语”)经由“语象”而与插图(“图”)互文,插图(“图”)经由“象语”而与曲文(“语”)互文。读者只有具备“化语成像”(语象)与“化图为语”(象语)的双重能力,“语-图”互文才可能真正实现。第八章则从戏曲插图本的叙事功能的角度,进-步深化“语-图”互文的深层机理研究。从横组合角度看,“图”可以被视为“文”的“预叙”：从纵聚合角度看,“语-图”关系可以视为“叙事时空体”。而单就“叙事时空体”来说,从纵聚合角度看,“语-图”关系体现为“时间的空间化”,即在时间进程中赢取空间；从横组合角度看,“语-图”关系体现为“空间的时间化”,即在空间布展中触及时间。正是在横组合和纵聚合交错而成的表征系统中,“预叙”和“叙事时空体”得以形成,“语-图”之间的互文关系和多重意指得到汇聚与凝结。第九章主要研究戏曲插图本“语-图”互文与图文缝隙问题。语言与图像关系问题十分微妙而复杂,它们之间不仅有共存、互文、互补的一面,同时还存有裂缝和空隙。戏曲插图本的图文缝隙有“符号缝隙”、“行为缝隙”、“接受缝隙”等类型。“语一图”互文与图文缝隙同体异面,二者始终保持着一定的张力关系,构成语言与图像关系中“和而不同”的艺术景观。余论部分则将插图上升为一种“批评”。明刊本戏曲插图已不只是语言文本的附庸,而具有独立的艺术价值。这种价值不仅体现在戏曲插图本身即是一件艺术作品,它可以离开语言文本而单独存在,更为主要的是它体现着图像作者的“视点”,体现着图像文本对语言文本的一种诠释,体现着阐释空间的敞开性。“化语成图”的直观表现、“驻足凝视”的审美驿站、“象外之象”的意蕴空间,构成插图这一特殊批评形态“以象诂意”的批评特性。更多还原

【Abstract】 The relationship between word and image is not only a theoretical problem but also a practical problem with both the traditional origin and practical new change. Although word and image belong to different symbol systems, and their functions are also different, each one has its good points. Exploring the relationship between word and image, we should not put too much emphasis on the antagonism between them, but focus on the contrast and intertextuality; we should not resort to some empty slogans, but regard "text" as the basis, summing up the basic pattern of word-image expression and the inherent laws of intertextuality. Starting from the Ming Dynasty block-printed opera illustration, this paper focuses on the multiple intertextuality between "word" and "image", sums up its presentation styles, explores its deep mechanism, grasps the inner tension, and promotes the illustrations to a "critical form", trying to construct the basic framework of intertextuality between word and image from the theoretical level.Chapter one mainly combs the historical evolution of Ming Dynasty block-printed opera illustration. Chinese ancient operas experienced the development process of the beginning in Yuan Dynasty, the prosperity in Ming Dynasty and the decline in Qing Dynasty. In the glory of opera illustration in Ming Dynasty, there exists plural form changes in terms of the location, layout, and types of illustration, and a variety of functional evolution from the "text decoration" to "narrative painting" and then to "flattery painting", and there also exists the multiple integration among "meaning form","intent form" and "implication form"Chapter two analyzes the dominant presentation of the intertextuality of word and image in Ming Dynasty block-printed opera illustration. For the opera illustration, each "image" is different, and each "text" is also variable. The different combinations and presentations between them constitute various forms of intertextuality of word and image:the first is "image resulting from text", including image in comparison with the text, image simplified by the text and image complicating the text etc.; the second is "image attached with text", including the parenthetical form, plot-hinting form, and title-painting-poem form; the third is "text derived from image", namely the image proving history.Chapter three to five analyzes the deep expression and recessive presentation of "word-image" intertextuality of Ming Dynasty block-printed opera illustration from the following three aspects respectively:opera illustrations and opera vocabulary, the characteristics of illustration literati and opera literati, and "far association" and "close analogy". Chapter three analyzes the recessive intertextuality of opera illustrations and opera vocabulary from such aspects as opera induction, opera hints, opera libretto, opera commentaries and space-time processing art, opera communication etc. Although the Ming Dynasty opera illustration can not directly tell with words as other opera art elements, it is always making use of a special image vocabulary to translate language and text. Chapter four focuses on the analysis of the recessive intertextuality of illustration literati and opera literati. The literati process of Ming Dynasty operas is reflected in not only the words, but also the illustration. The opera illustration is developed from the literal performance to the expression of emotion and perfect decoration; at first, the opera illustration highlights the stage effect striving to create a "realistic space", then gradually it shows "poetic space" and "space of form" with literati color, and eventually it evolves into the "desk study" of scholars. The relationship between image and word also becomes distanced. The literati color and artistic independence of illustration are increasingly strengthened. Thus, in the juncture of "literati", a more hidden and profound "word-image" intertextuality of Ming Dynasty block-printed illustrated opera is formed. Chapter five presents the recessive intertextuality between opera illustration and the "pre-word"(far association) and "painting vocabulary"(close analogy). Opera illustration is associated with not only the opera text tightly attached to it, but also constitutes a recessive intertextual association with other prior texts(pre-word), i.e."far association"; at the same time, opera illustration constitutes an intertextual relationship with the "painting vocabulary" which absorbs the painting resources of that era integrated with the epoch picture or individual elements, i.e."close analogy". Whether it is "far association" or "close analogy", a potential text is constituted which forms a new intertextuality relationship with opera image, presenting multiple "word-image" intertextuality forms such as surface and deep intertextuality, vertical and horizontal intertextuality, external-and potential intertextuality, homogeneous and heterogeneous intertextuality.Based on the previous chapters which sum up the dominant and recessive presentation of "word-image" intertextuality, chapter six to eight mainly explores the deep mechanism of "word-image" intertextuality of Ming Dynasty block-printed illustrated opera. Chapter six focuses on the analysis of the possibility of the mutual imitation and conversion between word and image, and how "word-image" intertextuality is realized in the symbol level. Both word and image have their respective "grammar" and "syntax", grammatical rules or orders, and context or correlation domain. Multilayer symbolic action, multiple meaning integration and multilayer switch of angle of view constitute the multiple symbols of illustrated opera "word-image" intertextuality; different symbols express the same images, external action transfers inner emotions, and visual image reproduces auditory responses. All of these make up the synesthesia isomorphism between word and image symbols. Chapter seven explores the deep mechanism of "word-image" intertextuality from the perspective of "word-image agent" and "image-word agent"."Word-image" intertextuality is not a linear correspondence between word and image, but is regulated by the inner deep generative-transformational mechanism:indirect text ("word") forms intertextuality with graph ("image") via "word-image agent", and graph forms intertextuality with indirect text via "image-word agent". The readers have to master dual ability of "word-image agent" and "image-word agent" to achieve "word-image" intertextuality. Chapter eight further deepens the research of deep-level mechanism of "word-image" intertextuality from the angle of narrative function of opera illustration. From the syntagmatic perspective,"image" can be regarded as "flashforward" of "word". From the paradigmatic perspective,"word-image" relationship can be considered as "narrative space-time body". Speaking of "narrative space-time body" from the paradigmatic perspective,"word-image" relationship is the embodiment of "spatialization of time", i.e. to win the space in the course of time; from the syntagmatic perspective,"word-image" relationship is the embodiment of "temporalization of space", i.e. to access time in the space exhibition. It is in the syntagmatic and paradigmatic representation system that "flashforward" and "narrative space-time body" are formed and that "word-image" intertextuality and multiple denotation are accumulated and integrated.Chapter nine mainly studies the illustrated opera "word-image" intertextuality and image-word gap. The relationship between word and image is very subtle and complex. There is the side of coexistence, intertextuality, complementation, and there are also cracks and voids. There are such image-word gaps in opera illustration as "symbol gap","behavior gap" and "acceptance gap" etc."Word-image" intertextuality and image-word gap share one body with two different sides, maintaining a certain tension which constitutes an artistic landscape of "harmony but not sameness" in the word-image relationship.The illustration is promoted to a kind of "criticism" in the conclusion part. Ming-Dynasty block-printed opera illustration is not only an appendage of linguistic text. It has its independent artistic value. This value is not only reflected in the fact that opera illustration itself is a work of art, and it can exist alone leaving the linguistic text, but more important is that it embodies the "viewpoint" of the image author, embodies an interpretation of image text for word text, and embodies the openness of the interpreted space. The "word-image" visual expression, the "stop and stare" aesthetic inn and the "image beyond image" connotation space constitute the critical "image explaining meaning" characteristics of this special criticism form——illustration.更多还原