论文部分内容阅读
梅洛-庞蒂立足于其身体现象学对“画是无声诗,诗是有声画”这一经典语图相似论进行了重新阐释。虽然对索绪尔语言学的借鉴使梅洛-庞蒂中期对语言区别于绘画的特征有了更多认识,但这并没导致他放弃前期将语言和绘画都视为身体姿势的观点。他在中期借助语言现象学将索绪尔语言学吸收进身体现象学中,从而在新层面上延续了前期的语图相似论,中期的风格理论是语图相似论的具体体现,也是通向后期的肉身理论的关键环节之一。肉身理论是梅洛-庞蒂从新本体论角度对身体理论的发展,而对语图关系的思考推动了他对肉身之可逆性特征的发现。在肉身视域中,语言和绘画都被明确视为对存在的表达,语图相似论的最终依据正在于此。
Based on his body phenomenology, Merleau-Ponty reinterpreted the classical figurative similarism of “Painting is a silent poem and poetry is a sound painting.” Although the reference to Saussure’s linguistics has made Merrow-Ponty more aware of the difference between language and painting in the medium term, this has not led him to abandon the idea that language and painting were both regarded as physical postures. He absorbs Saussure’s linguistics into body phenomenology with the help of linguistic phenomenology in the medium term, thus continues the pre-dialect similarism on a new level. The medium-term style theory is the embodiment of linguistic similarity theory, One of the key aspects of the post mortem theory. The theory of flesh body is the development of body theory from the perspective of neo-ontology by Merleau-Ponty, and his reflection on the relationship of language diagrams promotes his discovery of the reversible character of flesh. In the flesh-body perspective, language and painting are all clearly seen as expressions of existence, and the ultimate basis of figurative linguistic similarity lies here.