关键词: 文字蒙太奇, 主体间性, 媒介间性, 象思维, 汉字传播

Abstract:

The core concept of “montage” theory corresponds to the “interality-oriented philosophy” in traditional Chinese art. What defines this “interality-oriented philosophy”? Through interdisciplinary approaches, this study employs Gadamer’s hermeneutic theory of the “fusion of horizons” to conduct a qualitative analysis of the “interality characteristics” in the “Art of Word-Writing Montage”, validated by dual mutual verification via creative Chinese character design practices. Within the interality framework of the “Art of Word-Writing Montage”, “xiang-thinking” (symbolic thinking) serves as the text’s deep structure, while the montage itself functions as its manifest form. Artists utilize “interality” to demarcate objects, creating “concealment” between entities. This semantic “concealment” generates an ambiguous artistic state, evoking a mist-like aesthetic ambiance. The significance of “Art of Word-Writing Montage” lies in its ability to bridge cultural carriers of conceptual meaning and the “semiotic interpretants” of texts. Through the montage concept, it connects memories inscribed in space, allowing both designers and audiences to immerse themselves in contextualized environments. Within multi-mediated spatial settings, the semantic power of the “Art of Word-Writing” shapes cultural spaces.

Key words: Art of Word-Writing Montage, Inter-Subjectivity, Intermediality, Xiang-Thinking, Art of Word-Writing Dissemination