书写之道

【作者】 林书杰；

【导师】 孙周兴； 陈嘉映；

【作者基本信息】 中国美术学院 ， 艺术现象学， 2008， 博士

【摘要】 本论文从德里达的“延异”(diff(?)rance)概念入手。“延异”先于一切言语、概念，它的“意义”在自身的差异中显示，不受言语的控制。按照德里达自己的看法，“延异”概念很适合于中国汉字，其意义靠自身来显示，免受言语中心论的干扰。据此，德里达经常赞扬中国汉字或是表意文字、象形文字。汉字书写先于言语，并且具有优先性，因此，德里达就有“借助中国文字来解构西方语言中心特权的来源”的想法。但这话是什么意思呢?是汉字避开了言语中心论，还是汉字书写的意义在“延异”?是否汉字书写有为其解构服务的特权?这是本文所讨论和解决的问题，本文分三部分组成。第一部分：提出问题第一章提出书写问题。主要从东西方两方的视角来考察言语与文字书写之间的关系，阐明德里达的如下基本观点：贬低文字的理由是由于逻格斯中心论作祟。然后，阐述胡塞尔的如下思想，他从“朝向事物本身”的思想出发，指出事物的意义与几何学公式的书写形式的相似之处，两者都可以达到对“观念对象”保持不变的效果。胡塞尔的上述思想有助于我们重新看待书写与言语的关系。该章最后回到德里达的书写问题，他认为书写(延异)是一切意义之源，汉字书写就像“延异”，但“延异”的意义是“播撒”、“痕迹”、“虚无”、“终结”等。那么，汉字书写会“延异”吗?汉字有“特权的来源”吗?第二部分：解决问题由第二、三、四章组成。这一部分主要从书写之法、工夫和时空展开讨论，深入汉字书写形式问题。其实，汉字并不像德里达的“延异”那样不可捉摸。汉字书写在于讲求法则，通过点画线条的形式来表达，而成为“书法艺术”。在书写的相续中，“法”是汉字书写得以展开的前提，也就是说，我们能够相续于几千年来历史长河之中的汉字书写，主要是“法”的原因。此“法”具体表现在汉字书写的施技工夫和效果上，并且书写的意义在书写工夫、方法当中呈现，汉字书写因“法”引带时空的共生，从而点画线条凝聚了“延异”。“延异”在德里达看来是“意义”的差异绝对化，体现在“时间的空间化，空间的时间化”上。但在汉字书写形式之中却有其“道道”，通过汉字书写形式，“法”可以迂回书写时间上的延迟，而且可以弥合空间上的间隙。第三部分：总结第五章通过前三章的讨论，我们站到了一个新的基点上来理解德里达的书写理论，对其理论既有修正也有充实。我们发现，汉字书写强调的是写得“如何”，而不是写的“什么”。“如何”强调的是方法、工夫。书写在过程中体现出它的意义，而对于个体而言，书写却要讲求工夫和方法；但另一方面，书写的“如何”又具有普遍性，写既是方法，也是对实体(什么)的把握，可以说，“如何”是、以方法来接近实体(什么)的方式。就此而言，书写蕴含了“什么”和“如何”，其意义在自身的差异中呈现，并且形成了可沟通内外、物我、身心的循环系统。我们的结论是：汉字书写并不能由“延异”充分描画，汉字书写是有意义的，这种意义在自身性中生发，这也是汉字所具有的“特权”的一种体现。更多还原

【Abstract】 This paper takes the first step in Jacques Derrida’s concept of diff(?)rance. In histheory, the diff(?)rance preceded all the languages and concepts. The meaning of a wordwas presented in the differences between itself and other words. In Derrida’s view,this concept naturally fell in with Chinese characters whose meaning was conveyedstraightforward by their forms and consequently, free from the interference of thephonocentrism. Hence, Derrida always express warm approbation of Chinesecharacters, ideogram, or hieroglyph. Since the writing of Chinese characters precededthe speech, Derrida would deconstruct the source of the privilege of the westernphonocentrism with the help of Chinese characters. But what did he really mean? Didhe mean that Chinese characters keep out of the way of phonocentrism or the meaningof the writing of Chinese characters was equal to diff(?)rance? Did it grant a privilegeto his deconstruction theory?The first part: Issues presentedThe issue of writing will be presented in the first chapter. The relation betweenspeech and writing will be studied in the perspectives of both of the east and the west.The essential viewpoint of Derrida was that the vilification of the writing was causedby logocentrism. On the other hand, Husserl’s thought of "return to the matter per se"pointed out that the meaning of matters was similar to the writing form of geometryformulas and both could achieve the effect of consistency with the "objects of theconcept". His theory was conducive to re-reading of the relation between speech andwriting. This chapter will end in the issue of writing of Derrida who suggested that thediff(?)rance of writing was the origin of all the meaning. The writing of Chinesecharacters is like differing and deferring, but their meaning is dissemination, trace,nihility, termination, and so on. Then, is there any diff(?)rance in the writing of Chinesecharacters?The second part: Issues solvedThis part is composed of chapterⅡ,Ⅲ, andⅣ. The issue of the form of thewriting of Chinese characters will be studied in the concepts of the law, artistry, andspace-time of the writing. In fact, Chinese characters were not as subtle as thatdescribed in Derrida’s diff(?)rance theory. The writing of Chinese characters which wascalled the art of calligraphy paid attention to the law and expressed itself in the formof dotting, drawing, and lines. In the succession of calligraphy, "law" was the essenceof the writing. In other words, it was law that enabled the succession of Chinesecalligraphy over thousands of years. The law was displayed in the effect, methods,and artistry of the writing in which the meaning was presented. With the help of thelaw, the writing of Chinese characters brought about the coincidence of space andtime, as a result, the dotting, drawing, and lines and the diff(?)rance cohered. Derridainsisted that the diff(?)rance was the absolute differences of meaning which wasreflected by the coincidence of space and time. Yet there was "Tao-Tao" in the form of the writing of Chinese characters. The law could retrieve the deferment of time andthe gap of space.The third part: conclusionThrough the discussion of the first three chapters, we stand on a new base pointto understand Derrida’s writing theory and have given amendment and supplement toit. We can point out that the writing of Chinese characters placed emphasis on "howwriting" instead of "writing what". The former emphasized the methods and artistrywhich were needed to the individual; on the other hand, "how writing" had itsuniversality, the writing was about methods, as well as the realization of the reality. Inthis aspect, the writing contained "what" and "how", and its meaning was presented inthe difference of itself, and then formed the circulatory system which could connectthe inside/outside, the subjective/objective, and the mind/body.Our conclusion is that the writing of Chinese characters can’t be fully describedwith the concept of diff(?)rance and it has sense which germinates in it.更多还原