英文摘要
|
In a number of literary and artistic works, the symbol is one of the author's usual practice, it makes the work more creative, and the reader will become into a producer from a consumer. However, the symbol is not out of nothing, its image is more innate, relatively more symbol is the language of cultural allusions, naturally there are context. The purpose of this paper is to find the relevant knowledge of the beasts from the history of Chinese literature, especially from the Book of Songs, and to explore the images of tigers, leopards, elephants, foxes and bears. In order to achieve the above purpose, the literary review was applied to obtain the meanings of tiger, leopard, elephant, fox and bear in the Book of Songs. Peircean Semiotics (Charles S. Peirce, 1839-1914) was adopted to obtain the major point to the symbolic structure of the above-mentioned animals, and finally, the relationships between the words of the tigers, leopards, elephants, foxes, bears were further analyzed. The following are the findings of this study. First, "Tiger" is one of the commonly used ornaments of the army at that time, mainly by its "dignity" to use as a strong military capacity; Moreover, the "elephant bone" made of precious jewelry is the collection for the rich people; wearing a rare "leopard" leather clothing to show dignitaries. It is worth mentioning that "Xiaoya, GanSi": "The dream bear" is also a symbol of "auspicious" and is the earliest source of "dream bear". It can be seen that the influence of the Book of Songs on Chinese culture is extremely far-reaching. In addition, in this time by the Peircean Semiotics for the "Book of Songs" animal race discussion found that the poet to observe the animal's characterization and behavior characteristics as the main focus to design, the mark point of view, This tends to be an icon sign. Thus, the icon sign of the metaphor in the early days is a habit of creative thinking. It is well known that the natural reaction of the ancient sage in the creative mode of operation and the natural reaction of the program, if the animals and their images applied to the visual arts and visual design creation may be more to add cultural meaning.
|
参考文献
|
-
吳彥霖(2007)。皮爾士的記號類型與賦比興之比較研究。設計學研究,10(1)
連結:
-
(2007)。文淵閣四庫全書。香港:迪志文化出版社。
-
(2007)。文淵閣四庫全書。香港:迪志文化出版社。
-
宋朱熹(2001)。詩經集註。臺南:大孚書局。
-
周左丘明傳、晉杜預注、唐孔穎達疏、清阮元刻(1989)。十三經注疏.春秋左傳正義校刊記。臺北:藝文印書館。
-
梁劉勰(2004)。文心雕龍。臺北:文史哲出版社。
-
漢毛亨傳、漢鄭玄箋、唐孔穎達正義、清阮元刻(1989)。十三經注疏。臺北:藝文印書館。
-
漢班固、顏師古注(2010)。漢書。臺北:臺灣商務印書館。
-
漢許慎、清段玉裁注(1986)。說文解字注。臺北:黎明文化事業公司。
-
漢鄭玄注、唐孔穎達疏、清阮元刻(1989)。十三經注疏.禮記正義。臺北:藝文印書館。
-
漢鄭玄箋(1981)。毛詩鄭箋。台北:新興書局。
-
Aristotle、陳中梅譯注(2001)。詩學。臺北:臺灣商務印書館出版有限公司。
-
Burks, Arthur(1931).Collected Papers of Charles Sanders Peirce.Cambridge:Harvard University Press.
-
Burks, Arthur(1931).Collected Papers of Charles Sanders Peirce.Cambridge:Harvard University Press.
-
De Saussure, Ferdinand(1966).Course in General Linguistics.NY:McGraw-Hill Paperbacks.
-
Dewey, John(1980).Art as Experience.London:Penguin Books Ltd.
-
Hartshorne, Charles,Weiss, Paul(1931).Collected Papers of Charles Sanders Peirce.Cambridge:Harvard University Press.
-
Hegel, Georg Wilhelm Friedrich、朱光潛譯(1997)。美學。北京:商務印書館。
-
Jauss, Robert. Hans、顧建光譯(2006)。審美經驗與文學解釋學。上海:上海譯文出版社。
-
Putnam, Hilary(1981).Reason, Truth and History.New York:Cambridge University Press.
-
王先謙(1969)。莊子集解。臺北:商務印書館。
-
古添洪(1984)。記號詩學。臺北:東大圖書有限公司。
-
朱自清(2001)。詩言志辨。台北:頂淵文化事業有限公司。
-
吳彥霖(2012)。實用主義在視覺傳達設計的應用與實踐。高雄:源旻文庫。
-
吳彥霖(2007)。易象的記號思維及其傾向─以卦爻辭中的走獸類動物字彙為例。設計與產業學報,4
-
李幼蒸(1997)。語義符號學。臺北:唐山出版社。
-
李敬一(2002)。中國傳播史論。武漢:武漢大學出版社。
-
陳節(1997)。詩經漫談。臺北:頂淵文化事業有限公司。
-
黎靖德編、王星賢點校(1986)。朱子語類。北京:中華書局。
|