论交叉文化视野中的镜子意象
摘要
镜子意象在中西方文化中都是比较传统的意象,从贵族的特权产品到百姓的生活必需品,镜子在普及化的过程中逐渐在各个领域展现出自己的特殊性,因为镜子从产生之初始终伴随着人对自我的认识,我们发现镜子并没有像一般的意象成为一种一对一的符号固定下来,而是随着人的认识不断改变。同时,镜子对人的情感、心理、行为都产生了惊人的影响,对镜子意象的研究有助于我们从一个侧面了解自己的文化,认识经过历史筛选后的文本意象。本文分“引言”、“正文”、“结语”三个部分,对中西文化中的镜子意象进行整理,试图探索中西方文化中镜子意象的演变。
引言人们对于镜子的兴趣早在上古神话中就有所反映,最初学者们关注镜子的外在美,探讨的大多是镜子的外形,西方学者还关注到镜子与光的联系。随着时代发展人们对镜子的关注也越发深入,因此本章主要对镜子意象的研究情况做一个综述,并进行了归类,在此基础上形成一个大致的写作思路,并就镜子意象的研究意义做一个简要的阐述。
第一章主要对镜子最原始的形象做一个了解,因为此后镜子的形象是在此基础上发展起来的。镜子一开始只是富人的奢侈品,随着工艺的普及才成为普通百姓的生活必需品。在这期间由镜面反射发展起一种占卜巫术,人们对镜子开始产生一种敬畏的态度。在古典文学作品中,镜子意象进一步发展,成为人们寄托情思的代表,本章还着重介绍了关于中西文化中具有代表性的镜子意象。
第二章随着时代的发展镜子的意象变得非常的博杂,镜子与镜子产生的形象复制使人们感到不安,人们对待它的心态也在不断改变,由镜子引发了人对自身的思考,人们害怕镜中的幻想会危及自身,并产生了宗教上的一些禁忌。本章重点介绍了人们对于镜子所产生的分身的恐惧。
第三章到了文明高度发达的现代社会,镜子引发的主体思考更为显著。镜子的意象被统统打碎,镜子不仅使得人们对自身映像产生恐慌,而且由镜子衍生出许多新的问题。本章分为“镜喻”、女性视角下的镜子、镜像的残编这样几部分对现在社会中镜子的突出意象做一个梳理。
结语基于以上对于镜子意象的分析,我们大致可以了解从镜子诞生之日人们对于镜子的态度,从交叉的视野看中西文化中镜子意象的嬗变,对“镜子”的认识只是人类对自身思考的一个表现,而对镜子意象的取舍反映了人们思维的变化。
The mirror images in Chinese or western culture are usually traditional. And from nobles' privilege products to daily necessities of ordinary people, mirrors gradually show, in the process of popularization, their particularity, for mirrors accompany man's growing self-recognitions from the very beginning of their existence. We found that mirrors haven't been fixed as a symbol just like other ordinary one-to-one images but rather be changing as man's knowledge is enlarging. Meanwhile, mirrors have a significant impact on man's emotions, psychology and behaviors. The mirror-image research will help us know, from a different angle, our own cultures as well as the text images sceened by history. This paper consists of three parts, which are "introduction", "text" and "epilogue". This paper is intended to explore the evolution of the mirror images in both Chinese and western culture in order to sort out the images existing in both cultures.
Introduction The interest of man toward mirrors can be found in the early ancient mythologies. Originally, scholars cared more about mirrors'outer beauty, so the appearances of mirrors were mostly the topics of discussions, and western scholars also paid attention to links between mirrors and lights. As time goes by, mirrors are getting more focuses. So this part chiefly makes a summary of and classifies the mirror images. And on this basis, an outline of ideas and a brief elaboration have been brought out.
Chapter 1:A general view of the most primitive mirror image, where the later images come from. At first mirrors were only rich men's luxury, and they became daily necessities due to the popularity of craftworks During this time the specular developed a divination witchcraft, people started to revere mirrors since specular reflection gave birth to some kind of divination witchcraft. In the classical literary works, mirror images were further developed, and turned into representatives of affection. This part also emphatically introduces the typical mirror images within Chinese and western culture.
Chapter 2:With the ongoing time, mirror images became miscellaneous, mirrors and the mirror-image copy made people feel uneasy, and also the opinions toward them were constantly changing. Mirror images sparked the thinking towards humans themselves and people feared that the images would endanger themselves,thus producing some religious taboos. This part introduces the horrors generated by the mirror images.
Chapter 3:Till the highly civilized modern society, it is prominent that mirrors have caused more subjective thinkings. Mirror images are entirely broken and mirrors not only bring panic to man's own image but also work out a lot of new problems. This part is divided into several parts like "metaphors of mirrors ", mirrors in female perspective, and mirror remains, making a category for the prominent images in modern society.
Epilogue:Based on the analysis above, we can get a rough understanding about how people view mirrors from the day a mirror was made and can see the transmutation of mirror images from cross-cultures. Recoginitions towards "mirrors" are merely a reflection of mankind's thought about himself, while the selections of mirror images reflect the transformation of man's way of thinking.
引言人们对于镜子的兴趣早在上古神话中就有所反映,最初学者们关注镜子的外在美,探讨的大多是镜子的外形,西方学者还关注到镜子与光的联系。随着时代发展人们对镜子的关注也越发深入,因此本章主要对镜子意象的研究情况做一个综述,并进行了归类,在此基础上形成一个大致的写作思路,并就镜子意象的研究意义做一个简要的阐述。
第一章主要对镜子最原始的形象做一个了解,因为此后镜子的形象是在此基础上发展起来的。镜子一开始只是富人的奢侈品,随着工艺的普及才成为普通百姓的生活必需品。在这期间由镜面反射发展起一种占卜巫术,人们对镜子开始产生一种敬畏的态度。在古典文学作品中,镜子意象进一步发展,成为人们寄托情思的代表,本章还着重介绍了关于中西文化中具有代表性的镜子意象。
第二章随着时代的发展镜子的意象变得非常的博杂,镜子与镜子产生的形象复制使人们感到不安,人们对待它的心态也在不断改变,由镜子引发了人对自身的思考,人们害怕镜中的幻想会危及自身,并产生了宗教上的一些禁忌。本章重点介绍了人们对于镜子所产生的分身的恐惧。
第三章到了文明高度发达的现代社会,镜子引发的主体思考更为显著。镜子的意象被统统打碎,镜子不仅使得人们对自身映像产生恐慌,而且由镜子衍生出许多新的问题。本章分为“镜喻”、女性视角下的镜子、镜像的残编这样几部分对现在社会中镜子的突出意象做一个梳理。
结语基于以上对于镜子意象的分析,我们大致可以了解从镜子诞生之日人们对于镜子的态度,从交叉的视野看中西文化中镜子意象的嬗变,对“镜子”的认识只是人类对自身思考的一个表现,而对镜子意象的取舍反映了人们思维的变化。
The mirror images in Chinese or western culture are usually traditional. And from nobles' privilege products to daily necessities of ordinary people, mirrors gradually show, in the process of popularization, their particularity, for mirrors accompany man's growing self-recognitions from the very beginning of their existence. We found that mirrors haven't been fixed as a symbol just like other ordinary one-to-one images but rather be changing as man's knowledge is enlarging. Meanwhile, mirrors have a significant impact on man's emotions, psychology and behaviors. The mirror-image research will help us know, from a different angle, our own cultures as well as the text images sceened by history. This paper consists of three parts, which are "introduction", "text" and "epilogue". This paper is intended to explore the evolution of the mirror images in both Chinese and western culture in order to sort out the images existing in both cultures.
Introduction The interest of man toward mirrors can be found in the early ancient mythologies. Originally, scholars cared more about mirrors'outer beauty, so the appearances of mirrors were mostly the topics of discussions, and western scholars also paid attention to links between mirrors and lights. As time goes by, mirrors are getting more focuses. So this part chiefly makes a summary of and classifies the mirror images. And on this basis, an outline of ideas and a brief elaboration have been brought out.
Chapter 1:A general view of the most primitive mirror image, where the later images come from. At first mirrors were only rich men's luxury, and they became daily necessities due to the popularity of craftworks During this time the specular developed a divination witchcraft, people started to revere mirrors since specular reflection gave birth to some kind of divination witchcraft. In the classical literary works, mirror images were further developed, and turned into representatives of affection. This part also emphatically introduces the typical mirror images within Chinese and western culture.
Chapter 2:With the ongoing time, mirror images became miscellaneous, mirrors and the mirror-image copy made people feel uneasy, and also the opinions toward them were constantly changing. Mirror images sparked the thinking towards humans themselves and people feared that the images would endanger themselves,thus producing some religious taboos. This part introduces the horrors generated by the mirror images.
Chapter 3:Till the highly civilized modern society, it is prominent that mirrors have caused more subjective thinkings. Mirror images are entirely broken and mirrors not only bring panic to man's own image but also work out a lot of new problems. This part is divided into several parts like "metaphors of mirrors ", mirrors in female perspective, and mirror remains, making a category for the prominent images in modern society.
Epilogue:Based on the analysis above, we can get a rough understanding about how people view mirrors from the day a mirror was made and can see the transmutation of mirror images from cross-cultures. Recoginitions towards "mirrors" are merely a reflection of mankind's thought about himself, while the selections of mirror images reflect the transformation of man's way of thinking.
引文
[1][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社,2005：22.
[2][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社,2005：9.
[3][英]弗雷泽.金枝[M]徐育新、汪培基张泽石译,大众文艺出版社,1998：32.
[4]钱钟书.管锥编第二卷[M]中华书局,1979：729.
[5]钱钟书.管锥编第二卷[M]中华书局,1979：729.
[6][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社,2005：161.
[7][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社,2005：92.
[8][美]巴恩斯通博尔赫斯八十忆旧[M]西川,译北京：作家出版社,2004：205.
[9]明珠.暴力 迷宫 镜子——博尔赫斯小说意象的精神分析[J]湖南工业大学学报(社会科学版),2008(2)：89.
[10]金芝鲜.论红楼梦中的镜子意象及其象征内涵[J]红楼梦学刊2008(6)：304.
[11][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社2005：127.
[12][英]弗雷泽.金枝[M]徐育新、汪培基张泽石译,大众文艺出版社,1998：173.
[13][英]弗雷泽.金枝[M]徐育新、汪培基张泽石译,大众文艺出版社,1998：287.
[14][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社2005：219.
[15][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社2005：103.
[16]常雷.它映出什么——西方绘画中镜子的意义[D].南京艺术学院2007：12.
[17][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社2005：105.
[18]郭绍虞主编.中国历代文论选第四册[M]上海古籍出版社1979：219.
[19]钱钟书.管锥编第二卷[M]中华书局,1979：114.
[1]许慎.说文解字注[M]段玉裁注,上海：上古籍出版社,1981.
[2]干宝.搜神记[M].上海：上海古籍出版社,1999.
[3]李汝珍.镜花缘[M]张友鹤校注,人民文学出版社,1992.
[4]李防等编.太平广记[M].中华书局,1981.
[5]李昉等编.太平御览[M].中华书局,1985.
[6]曹雪芹.红楼梦[M].上海古籍出版社,1999.
[7][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社2005.
[8][美]马克·彭德格拉斯特.镜子的历史[M].吴文忠译,中信出版社,2005.
[9][日]由水常雄.镜子的魔术[M].孙东旭译,上海书店出版社,2004.
[10][美]理查德·罗蒂.哲学和自然之镜[M].李幼蒸译,商务印书馆,2003.
[11][英]弗雷泽.金枝[M].徐育新、汪培基张泽石译,大众文艺出版社,1998.
[12][美]艾布拉姆斯.镜与灯：浪漫主义文论及其批评传统[M].北京大学出版社,2004.
[13]万晴川.巫文化视野中的中国古代小说[M].中国社会科学出版社,2003.
[14]刘艺.镜与中国传统文化[M].巴蜀书社,2004.
[15]黄晨淳.大师自画像[M].上海：上海书店出版社,2005.
[16]吴宝良马飞.中国民间禁忌与传说[M].北京：学苑出版社,1990.
[17]乐黛云.中西诗学中的镜子隐喻[J].文艺研究,1991.
[18]詹颂.中国古典小说中的镜意象[J].中国典籍与文化,2000.
[19]秦榕.从古镜记看镜子文学意象的流变[J].福州师专学报,2002.
[20]殷国明.中国的镜像说——古典文论阅读札记[J].文艺理论研究,2003.
[21]刘薇.镜子的神话分析[J].西安建筑科技大学学报(社会科学版)2006(12).
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[2][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社,2005：9.
[3][英]弗雷泽.金枝[M]徐育新、汪培基张泽石译,大众文艺出版社,1998：32.
[4]钱钟书.管锥编第二卷[M]中华书局,1979：729.
[5]钱钟书.管锥编第二卷[M]中华书局,1979：729.
[6][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社,2005：161.
[7][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社,2005：92.
[8][美]巴恩斯通博尔赫斯八十忆旧[M]西川,译北京：作家出版社,2004：205.
[9]明珠.暴力 迷宫 镜子——博尔赫斯小说意象的精神分析[J]湖南工业大学学报(社会科学版),2008(2)：89.
[10]金芝鲜.论红楼梦中的镜子意象及其象征内涵[J]红楼梦学刊2008(6)：304.
[11][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社2005：127.
[12][英]弗雷泽.金枝[M]徐育新、汪培基张泽石译,大众文艺出版社,1998：173.
[13][英]弗雷泽.金枝[M]徐育新、汪培基张泽石译,大众文艺出版社,1998：287.
[14][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社2005：219.
[15][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社2005：103.
[16]常雷.它映出什么——西方绘画中镜子的意义[D].南京艺术学院2007：12.
[17][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社2005：105.
[18]郭绍虞主编.中国历代文论选第四册[M]上海古籍出版社1979：219.
[19]钱钟书.管锥编第二卷[M]中华书局,1979：114.
[1]许慎.说文解字注[M]段玉裁注,上海：上古籍出版社,1981.
[2]干宝.搜神记[M].上海：上海古籍出版社,1999.
[3]李汝珍.镜花缘[M]张友鹤校注,人民文学出版社,1992.
[4]李防等编.太平广记[M].中华书局,1981.
[5]李昉等编.太平御览[M].中华书局,1985.
[6]曹雪芹.红楼梦[M].上海古籍出版社,1999.
[7][法]萨比娜·梅尔基奥尔·博奈.镜像的历史[M].周行译,桂林：广西师范大学出版社2005.
[8][美]马克·彭德格拉斯特.镜子的历史[M].吴文忠译,中信出版社,2005.
[9][日]由水常雄.镜子的魔术[M].孙东旭译,上海书店出版社,2004.
[10][美]理查德·罗蒂.哲学和自然之镜[M].李幼蒸译,商务印书馆,2003.
[11][英]弗雷泽.金枝[M].徐育新、汪培基张泽石译,大众文艺出版社,1998.
[12][美]艾布拉姆斯.镜与灯：浪漫主义文论及其批评传统[M].北京大学出版社,2004.
[13]万晴川.巫文化视野中的中国古代小说[M].中国社会科学出版社,2003.
[14]刘艺.镜与中国传统文化[M].巴蜀书社,2004.
[15]黄晨淳.大师自画像[M].上海：上海书店出版社,2005.
[16]吴宝良马飞.中国民间禁忌与传说[M].北京：学苑出版社,1990.
[17]乐黛云.中西诗学中的镜子隐喻[J].文艺研究,1991.
[18]詹颂.中国古典小说中的镜意象[J].中国典籍与文化,2000.
[19]秦榕.从古镜记看镜子文学意象的流变[J].福州师专学报,2002.
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