崇高之境:巴尔特符号学的意指延伸与北宋山水画的境界升华

发布时间：2018-02-11 03:34

本文关键词： 巴尔特皮尔斯现代符号学文化批评家整一性范宽文化阐释郭熙画中爱森斯坦 　出处：《美术观察》2016年05期 　论文类型：期刊论文

【摘要】：正本文将巴尔特符号学的意指延伸概念引入北宋山水画研究,实与索绪尔符号学及皮尔斯符号学相关。在论述符号之"音一词一物"间的内在关系时,索绪尔言及一个符号的所指可以转化为下一个符号的能指,与此相似,皮尔斯的"阐释项"也可以是前一个符号的所指和下一个符号的能指。如此这般,符号的意指过程得以延伸。遗憾的是,作为现代符号学的两大奠基人,索绪尔和皮尔斯既未进一步阐述意指延伸的问题,也未将这一理论概念付诸符号研究的实践,到了20世纪中期,由于罗兰·巴尔特(1915一1980)等法国文化批评家们的努力,符号的意指过程在文化阐释中得
[Abstract]:In this paper, the concept of extension of Barter's semiotics is introduced into the study of landscape painting in the Northern Song Dynasty, which is related to Saussure's semiotics and Pierce's semiotics. Saussure's reference to a symbol can be transformed into a signifier of the next symbol. Similarly, Pierce's "explanatory term" can also be the signifier of the previous symbol and the next symbol. Unfortunately, as the two founders of modern semiotics, Saussure and Pierce have neither further elaborated on the extension of meaning nor put this theoretical concept into the practice of symbolic research. By the middle of 20th century, thanks to the efforts of French cultural critics, such as Loran Bartlett, 1915-1980), the process of signifying the meaning of symbols had gained its place in cultural interpretation.
【作者单位】：加拿大康科迪亚大学文理学院;
【分类号】：J212

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