The article traces and discusses the philosophically significant consequences of the rootedness of the ancient Chinese thought in the original iconicity of Chinese hieroglyphic writing. The phenomenon of performativity is investigated on the Chinese material. In the course of the study, a fundamental methodological difference between performative statements and performative declarations is introduced. In light of the proposed difference, a pronounced performative declarativeness of the famous Confucian concept of zhengming (“correcting of names”) is revealed. This rarely studied aspect of the “correcting of names” should not be confused with the currently well-known performative naming implied by the setting to zhengming. The main result of the proposed methodological distinctions and exegetical analysis is the identification of the non-verbal prototype of the concept of zhengming (the hexagram “Family”). The paradigmatic nature of the prototype of the hexagram graphics in relation to the verbal formulation, which endows the performative status of the original visual image with the verbal explication of this image, allows the author to generalize this particular observation to the fundamental final hypothesis according to which the performative effectiveness of the word is secondary in comparison with the initial performativity of the mantic diagrammatism.
本文追溯并讨论了古代中国思想的根源在中国象形文字最初的象似性中的哲学意义上的重大后果。在中文材料上研究了性能现象。在研究过程中,介绍了执行性陈述与执行性声明之间的基本方法差异。鉴于提出的差异,揭示了著名的儒家正明概念(“名称更正”)的显着的执行性声明性。 “名称更正”这一很少研究的方面不应与正名设置所隐含的当前众所周知的表演性命名相混淆。所提出的方法上的区别和解释分析的主要结果是对正明概念(卦)的非语言原型的识别。相对于言语表述而言,卦形图原型的范式本质赋予了原始视觉图像以言语形式的表现状态,从而使作者可以根据以下结论将这一特定观察概括为基本的最终假设。相较于语义图的初始表现力,该词的表现力是次要的。