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【按语】意大利是国际符号学出版中心之一，LEXIA是国际符号学运动最著名的发表品牌，在学界享有巨大的影响力和崇高的权威性，籍此平台与西方学界交流、对话，当然是件幸事、快事。原因很简单：我的学术立场是中国的，所用材料大多也是中国的、传统的；另一方面，我的符号学观念与研究方法却是世界的、现代的、原生的。 应该说，这是一次成功的民间学术交流，虽有劳作之辛苦与样书“通关”之坎坷，也是非常值得的。在此，感谢所有为此而倾心付出的朋友们，你们的奉献只为了两个大写的字——学术！此情此景已经铭刻我心（详见《后记》）。 现将本书相关信息发布如下，并希望它的中文版尽早面世。 一、《文学图像论》英文版封面、封底、扉页、版权页 二、目录（英文及中文原文） 目 录 引 论…………………………………… 一代有一代之“新学”——“文学图像论”的命名理据——“文学图像论”的文学观——“文学图像论”的范畴和方法——“文学图像论”之可能或不可能 第一章 文学与图像……………………… 文图关系研究的学理逻辑——语图关系史及其诸问题——语象和图像的统觉共享 第二章 语图互仿论……………………… 拉奥孔之“痛”——顺势而为——逆势而上 第三章 语图指称论……………………… 任意性和相似性——“假相”的合法性——语言虚指·语象如画 第四章 语图传播论……………………… 可名与不可名——图之悦与文之悦——图以载文文自轻 第五章 语图在场论……………………… 图说在场及其“皮相之见”——言说不在场及其能指在场——言说在场之图像透明 第六章 文学成像论……………………… “一画”：天人揖别与天人际会——语言生象与在场诱惑——文心取意与心手相应 第七章 诗歌图像论……………………… 语图切换·诗意再现——语义深邃·图像例证——若隐若现的视觉诱惑 第八章 小说插图论………………………… “立铺讲唱”之现场还原——叙事折叠之插图明见——插图逃逸与独立叙事 ——危险的“插入”与话语解构 第九章 文学书像论（未收入）…………… 字像、书像及其视觉注意——语象、字像、书像之异质同构——书像之书意及其文意如影 余 论……………………………………… 文学新时代——文学图像论的使命——遥远的地平线 后 记………………………………………… 三、后记（英文及中文原文） Afterword I have been interested in the text–image theory for long, and started to put the interest into practice at the beginning of the new century when I gave instructions to Yu Deshan on his doctoral dissertation, A Study on Ancient Chinese Image Narration and the Intertextual Phenomenon of “Text–Image”. After that, I was invited by my friend to teach Fine Arts in Shanghai University and stayed there for 5 years. During that period, for the sake of my duty, I consciously pondered over the language art and image art to guide students in a better way, and finally found that this field was a vast and attractive virgin land. From then on, I have been totally devoted to the study on text–image, perusing books of all sorts and collecting extensive materials under the guidance of the cross–culture idea, identifying problems and defining discussion areas with the standpoint of “treating the Chinese and Western conditions separately”, and spending over 10 years on nearly 10 topics. There are individual papers on each of the topics published on Chinese journals. Now upon request, I collect them in the book entitled Text–Image Theory: Comparative Semiotic Studies on Chinese Traditional Literature and Arts (Text–Image Theory), and dedicate it to the English academic world. I extend my greatest gratitude to Professor Massimo Leone of UNITO and Professor Zeng Jun of Shanghai University of China for their generous support, dedication and invitation to the papers published in collection. The friendly cooperation between them has built a bridge and made an important contribution to the academic exchanges between China and the West, and this book as a witness benefits from it a lot. If this book can attract attention or exert some impacts, then Professor Massimo Leone and Professor Zeng Jun must be appreciated as wise scouts or Bole as said in On Horses by Han Yu: “Only after Bole came into the world were there horses able to gallop one thousand li. Such horses are common, but a Bole is rare”. Then, I express my heartfelt thanks to the translator team of Professor Zeng Jun. They are Shan Nana, Rong Ge, Zhang He, Tao Ye, and Zhao Baohua. Due to the interdisciplinary originality of this research, I have to create some new concepts or change the usual way of expression, which adds many difficulties to the translation from Chinese to English. It is not easy for the translation to reach such a high level as today. Thank you! I also need to appreciate my students for their proofreading of the translation. Here is to list them in the order of the chapter they are responsible for: Associate Professor Zhao Jingpeng of Jiangsu Second Normal University, Professor Wu Hao of Bohai University, Professor Yang Jiangang of Shandong University, Associate Professor Li Yuping of Nankai University, Professor Huo Shengxia of The Guangzhou Academy of Fine Arts, Associate Professor Duan Dening of Nanjing Forestry University, Associate Professor Bao Yuanfu of Guizhou Minzu University, Professor Luo Liangqing of Nanjing University of Aeronautics and Astronautics, and Associate Professor Li Sen of Nanjing University of the Arts. Professor Cai Fang of Jiangxi Normal University has checked the key words of this book. Her accurate grasp of the meaning of the terms is admirable. It is really touching that she was delighted to accept the job when she was stranded on the other shore by the COVID–19 pandemic. Another good news is before the end of this year, my eight–volume History of Chinese Text–Image Relationship will also be published to form a combination of “history” and “discussion”, and “the Chinese text–image” and “the Western text–image” with this book. I am really happy. Here, I would like to thank all my academic friends and editors for their support and encouragement. It is our joint efforts that enable the study on the text–image relationship to break new ground in China. I sincerely thank you all! 我对文学图像的兴趣由来已久，新世纪初指导于德山完成博士学位论文《中国古代图像叙述及“语-图”互文现象研究》，算是这一学术兴趣付诸行动的开始。此后，应友人邀请，我在上海大学美术学专业工作5年，当然要自觉地在语言艺术和图像艺术之间思考问题、指导学生，终于发现这是一片广袤而诱人的处女地。从此，我心无旁骛、潜心此学，以“学无中西”的理念博览群书、广罗材料，以“学分中西”的立场发现问题、划定论域，用十多年的时间讨论了将近十个专题。这些专题已经以单篇论文的形式在中文刊物上发表过，现遵嘱汇集成册，奉献给英文学术界，名之为《文学图像论》（On Text-Image Theory: Comparative Semiotic Studies on ChineseTraditional Literature and Arts） 《文学图像论》（英文版）得以面世，首先感谢意大利都灵大学MassimoLeone教授、中国上海大学曾军教授，感谢他们的厚爱和奉献，主动向我邀约以此种方式结集出版。他们之间的友好合作为中西学术交流搭建了鹊桥，做出了重要贡献，这本小书就是从中受益的见证者。如果它能在英语世界遇到知音,或者产生些许影响，Massimo Leone和曾军两位教授也就堪称慧眼伯乐。“世有伯乐，然后有千里马。千里马常有，而伯乐不常有。”（韩愈《马说》） 其次要感谢曾军教授的翻译团队，他们是单娜娜、荣格、张禾、陶椰和赵宝华。由于本研究多为跨学科原创，作者不得不自创一些新概念，或者改变惯常表述方式，从而为汉译英平添了许多困难。译稿能够达到今天这个水平实属不易，谢谢你们！ 还要感谢我的几位弟子，他们参与了本书英译的校对工作，现以各自负责的篇章顺序铭记如下：江苏第二师范学院赵敬鹏副教授、渤海大学吴昊教授、山东大学杨建刚教授、南开大学李玉平副教授、广州美术学院霍胜霞教授、南京林业大学段德宁副教授、贵州民族大学鲍远福副教授、南京航空航天大学罗良清教授、南京艺术学院李森副教授。 江西师范大学蔡芳教授对本书关键词的英译进行了审定，她对专业词义的准确把握令人敬佩。她是因疫情被困在大洋彼岸而欣然接受这一工作的，特别令人感动！ 今年年底之前，我主编的《中国文学图像关系史》（8卷本）也要面世，将同《文学图像论》形成“史”“论”唱和、“中”“西”呼应之势，可谓喜事成双、双喜临门，令人开心。在此，我要感谢所有给予过支持和鼓励的学界朋友和编辑先生们，文学与图像的关系研究之所以能在中国破土而出，是我们共同努力的结果，由衷地谢谢你们！ 是为序。 作 者 2020年秋于中国南京大学 · 人文学术之中外镜鉴 · · 文艺理论之铄古成今 · |
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