The Obtuse Ideogram: A Second Look at the Imagist "Third Term"

隱晦的表意符號：意象派“第三種意義”再探

10.30095/SYJH.200606.0004

周廷戎(Ron S. Judy)

龐德 ； 艾森斯坦 ； 羅蘭•巴特 ； 意象主義 ； 意象派詩人 ； 表意符號 ； 電影 ； 解構 ； 表意符號的意識型態 ； Ezra Pound ； Sergei Eisenstein ； Roland Barthes ； imagism ； Imagists ； ideogram ； film ； deconstruction ； ideology of signifier

中山人文學報

22期（2006 / 06 / 01）

77 - 92

英文

本文首先解釋龐德和艾森斯坦如何從中文符號的「去熟悉化」特質，發展出一種以中文符號為媒介的「震攝」美學。除了詳盡闡述龐德和艾森斯坦如何從中國文字中建構出兩種「意象主義」，本文作者亦對他們的「表意符號藝術」提出了一種思想意識層面上的解讀。再者，晚近研究西方學界對中文符號探索的學者，多認為龐德和艾森斯坦誤解中文符意的建構過程。作者對此觀點持保留態度，並聚焦於龐德和艾森斯坦如何從他們對羅蘭•巴特「第三種意義」的領略當中，對前衛藝術發展出一致的理論。

This essay explicitly sets out to explain how Ezra Pound and Sergei Eisenstein use the Chinese sign to create an aesthetics of ”shock” based on the dc-familiarizing character of the Chinese sign. In addition to a detailed explanation of how Pound and Eisenstein construct two kinds of ”imagism' out of the Chinese character, I also offer an ”ideological” reading of their theories of ”ideogrammic art.” Moreover, unlike other recent critics (Fleming: 1989, Ming Xie: 1998, Makin: 2003) interested in the Western uses of the Chinese sign, I do not insist that Pound and Eisenstein were necessarily wrong about their intuitions regarding Chinese signification. Rather, I focus on how they managed to create coherent theories of avant-garde art based on their insights into what Roland Barthes called the ”third term,” or metaphysical aspect of the image.

1. Allen, Graham(2003).Roland Barthes.
2. Barthes, Roland,Richard Howard(1985).The Third Meaning: Research Notes on Several Eisenstein Stills.The Responsibility of Forms: Critical Essays on Music, Art, and Representation.
3. Benjamin, Walter,Edmund Jephcott,Kingsley Shorter(1985).One- Way Street and Other Writings.
4. Benjamin, Walter,Gary Smith(1983).N.Benjamin: Philosophy, Aesthetics, History.
5. Benjamin, Walter,Harry Zohn(1992).Illuminations.
6. Brooks, Cleanth(1975).The Well Wrought Urn.
7. Buck-Morss, Susan(1995).The Dialectics of Seeing: Walter Benjamin and the Arcades Project.
8. Burch, Noel(1991).In and Out of Synch.
9. Deely, John(1992).The Supplement of the Copula.Review of Metaphysics.
10. Derrida, Jacques(1982).The Supplement of Copula.Margins of Philosophy.
11. Derrida, Jacques,Alan Bass(1972).Margins of Philosophy.
12. Derrida, Jacques,Gayatri Chakravorty Spivak(1976).Of Grammatology.
13. Eisenstein, Sergei M.,Jay Leyda(1963).Film Form.
14. Fleming, Bruce(1989).The Ideogram in Pound and Eisenstein: Sketch for a Theory of Modernism.Southwest Review.
15. Goodwin, James(1993).Eisenstein, Cinema, and History.
16. Hwa, Yol Jung(1984).Misreading the Ideogram: From Fenollosa to Derrida and McLuhan.Paideuma.
17. Jameson, Fredric(1971).Marxism and Form: Twentieth Century Dialectical Theories of Literature.
18. Kenner, Hugh F.(1971).The Pound Era.
19. Kenner, Hugh F.(1968).The Muse in Tatters.Arion.
20. Knapp, James A.,Jeffrey Pence(2003).Between Thing and Theory.Poetics Today.
21. Makin, Peter,Qian Zhaoming(2003).Ideogram, 'Right Naming,' and the Authoritarian Streak.Ezra Found and China.
22. Mikhail Rornm(1965).Everyday Fascism.
23. Pound, Ezra(1916).Noh; or Accomplishment: A Study of the Classical Stage of Japan.
24. Pound, Ezra(1920).Instigations of Ezra Pound, Together with an Essay on the Chinese Written Character.
25. Pound, Ezra,William Cookson(1973).Selected Prose Writings.
26. Pu, Zhizhen(1990).Zhongguo yuyan xuesh [History of Chinese Linguistics].
27. Sergei Eisenstein(1958).Ivan the Terrible.
28. Sergei Eisenstein(1928).October.
29. Xie, Ming(1999).Ezra Found and the Appropriation of Chinese Poetry.