Beyond the Myth of Chinese Ideograms

IF 0.2 3区 文学 0 LITERATURE EXTRAPOLATION Pub Date : 2024-04-14 DOI:10.3828/extr.2024.6
Yuheng Ko
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Abstract

Published in The New Yorker in May 2016, Ted Chiang’s short piece “Bad Character” has raised fervent debates on the linguistic properties of the Chinese writing system, as well as on the peculiar, if not perplexing, nature of the language itself. The mixed responses among scholars, from both the East and the West, towards Ted Chiang’s position against Chinese characters reflect the underlying entanglement of disparate discourses, including the universal language, orientalization/self-orientalization, language reform, Asian-American struggles, Chinese exceptionalism, and most importantly, the entrenched myth of Chinese ideograms. By situating Ted Chiang’s short story “Story of Your Life” (1998) in the midst of the debate, this paper explores not only how Chiang broaches Chinese’s linguistic otherness through the science-fictional trope of alien communication, but also how the author dismantles the discursive baggage of Chinese ideograms by shifting toward technical description of linguistic details. Reading “Story” in joint with Liu Cixin’s seminal Three Body trilogy (2008–10) and a more recent work “Curse” (2015) by Chen Zijun, this paper further contends that a new trend can be discerned that seeks to depart from previous exploitations of Chinese’s otherness through orientalizing gestures and essentialist representations. Unlike their predecessors who either valorize or degrade the non-phonetic alien language allusive to allegedly ideographic Chinese, these authors refrain from setting up a hierarchy between human languages and their alien counterparts, channeling the utopian impulse of sf into treating language as a technical object that is perfectible through constant refinement of its linguistic configurations. The end product of these discursive efforts is a notion of linguistic utopianism, which not only harkens back to the generic affinity of sf to utopia as well as to the long-lived, ubiquitous quest for a perfect language, but also envisions a new ethics of alien communication through explicating the distinct technicality of each language for a non-hierarchical paradigm.
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超越中国表意文字的神话
2016年5月发表于《纽约客》(The New Yorker)的蒋特德短文《坏字》(Bad Character)引发了关于中文书写系统的语言属性以及中文本身的特殊性(如果不是令人困惑的话)的热议。东西方学者对特德-蒋反对汉字的立场反应不一,这反映了不同论述之间的潜在纠葛,包括通用语言、东方化/自我东方化、语言改革、亚美斗争、中国例外论,以及最重要的、根深蒂固的中国表意文字神话。本文将蒋方舟(Ted Chiang)的短篇小说《你一生的故事》(1998)置于这场争论之中,不仅探讨了蒋方舟如何通过科幻小说中的外星交流特例来探讨汉语的语言他者性,还探讨了作者如何通过对语言细节的技术性描述来卸下汉语表意文字的话语包袱。本文将《故事》与刘慈欣开创性的 "三体 "三部曲(2008-10 年)和陈子君的最新作品《诅咒》(2015 年)结合起来阅读,进一步认为可以发现一种新的趋势,即试图摆脱以往通过东方化姿态和本质主义表述来利用汉语的他者性。与前辈们或颂扬或贬低所谓表意中文的非语音外来语不同,这些作者没有在人类语言和外来语之间建立等级制度,而是将语言作为一种技术对象,通过不断完善其语言配置,将其引向乌托邦式的冲动。这些话语努力的最终成果是一种语言乌托邦主义的概念,它不仅回溯了 SF 与乌托邦的一般亲缘关系,以及对完美语言的长期、无处不在的追求,而且还通过阐释每种语言的独特技术性,为非等级范式设想了一种新的外星交流伦理。
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来源期刊
EXTRAPOLATION
EXTRAPOLATION LITERATURE-
CiteScore
0.60
自引率
33.30%
发文量
8
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