From the Sing Relation to Poeticizing: A Study of Zhaoshi in Martial Arts Fictions Through the Lens of Later Period Martin Heidegger's View of Language and Art

本文聚焦於各時期的指標性武俠小說作品在呈現打鬥招式之際所具有的若干不同面貌，意圖經由深入本源的分析來掌握蘊含於相關發展軌跡當中的語言藝術動力學。基於海德格中後期的語言與藝術觀點所提供的啟發，本文主張，武俠小說內的打鬥招式整體上從素樸的面貌漸漸發展得趨於精緻化、極端化的此一走向，事實上可以被視為創作者追求語言、藝術本質上的詩意創造效果並且傾向於將涉及了再現的既有符號關係結構予以擱置的過程。透過這樣的分析，本文希望能比偏重於強調民族想像及古典色彩的武俠小說傳統研究成果更進一步，試著以更為趨近語言及藝術本質的視野，來觀照通俗文學作品中武俠小說此一重要類型的文字魅力之所在。This paper focuses on several differentiated phrasal patterns which have been applied to the depiction of fighting actions - so called ＂zhaoshi＂(招式，moves) - in iconic martial arts novel across different ages, and therefore seeks to seize the internal linguistic as well as artistic dynamics through analysis which deeply penetrates into the essence. Inspired by later period Martin Heidegger's vision of language and art, this paper argues that we can see the development of zhaoshi, which, roughly speaking, sets out simplistically to become more elaborate and then radical in martial arts novel as the process of writers' pursuits of the ensemble concerning essentially linguistic and artistic poeticization rather than the sign relation structure, which seems to be involved with the region of representation. Hopefully, through the effort of such an analysis, the academic research into martial arts novel could go a little further than the traditional studies which, generally speaking, tend to highlight the dimension of nationality and archaism; thus, this paper tries to apprehend the attraction of the narrative in martial arts novel from a point of view which might be much closer to the essence of language and art so that we might understand such a valuable genre in the diversity of various popular literature works