陈昌明 台湾成功大学
Chen, Changming, National Cheng Kong University
原文Original
文学美典的汉学诠释
高友工（Yu-kung Kao）提出文学的“美典”问题，以个人视野与文学形式构筑美典的可能，并认为此种美学符码无法以规则指引或禁令的形式被习得，只能以文学典范心领神会，其中文学符码的意涵总是隐藏、涵融在作品之中。余宝琳（Pauline Yu）则认为诗词的典律化（Canonization）与意象（image）或意像群（imageery）的艺术构成有关，也就是意义关涉到多种现象之象或客体，并由此具体呈现。高友工、余宝琳所讨论的诗学典律，乃与《易》、《系辞》所传释的“言─象─意”的系统有较密切的关系，而与西方的隐喻体系较为不同。诚如刘若愚（James. J. Y. Liu）所云，西方索绪尔语言符号与意义构设的两分法，根本不适用于中国语言观。由此推演中国“意在言外”的用言方式，以及丰富含蓄之美典的形成，乃是“但见其言，不见其意”，而诗之意，如水中盐、色中胶，虽不可见，意在其中，而这一切，与中国文字的特质又有密切的关系，这正是本文焦点所在。
译文Translation
A Sinological Interpretation of Literary Aesthetics
Yu-kung Kao has raised questions of “Aesthetics” in literary works, arguing for the possibilities of constructing Aesthetics with personal visions and literary forms and against the Aesthetic codes being acquired by guidance and inhibition. The Aesthetic codes, Kao argued, could only be grasped through literary paradigms, the meanings of literary codes being always concealed and implied in the texts. Pauline Yu argued that the Canonization of poetry was related to the artistic construction of image or imagery, that is, meanings were concerned with various phenomena and objects and vividly revealed through them. The Canonization of poetry, seen by Yu-kung Kao and Pauline Yu, is much closer to the system of “word-image-meaning,” as is illustrated in Yi Jing, “Xi ci”, than to the Western metaphorical system. As James J. Y. Liu observed, the Western, Saussurean dichotomy of the signifier and the signified can by no means be applied to the Chinese perspective of language. This paper thus argues that the Chinese language methodology of “the meaning beyond the word” and the formation of a rich, implicit Aesthetics are what is called “the word is visible, its meanings invisible,” and that the meanings of poetry, like salt in water, is implied though unseen. Both arguments are closely related to the qualities of the Chinese characters.