数字媒介语境下的互文性研究

发布时间：2018-06-03 13:47

本文选题：互文性 + 超文本　；参考：《广西师范大学》2013年硕士论文

【摘要】：互文性作为一个源流颇深的理论范畴,直接间接地被广泛运用于各个学科和领域,与时俱进地将其置于新的数字媒介语境中进行理论创新,扩展了互文性内涵和外延,也催生新的文学理论,同时实践后现代主义理论,最后数字超文本有力驳斥了文学消亡论。论文以数字媒介时代的互文性理论作为研究对象,在对互文性进行溯源的基础上,将其置于数字媒介的语境中,探讨其在新语境中的不同表现形态,并试图抓住数字媒介语境下的互文性的典型形态——超文本作为研究对象进行理论的分析阐述和实践的批评,探究了电子超文本相对于传统互文理论的创新和突破,并从具体创作实践中确定其当代价值与意义。本文分为五章。在第一章里,论文从共时性和历时性两个方面分别对互文性的概念产生、理论内函、不同历史阶段的表现进行了溯源和归纳。此一章主要呈现了口语时代、印刷时代和数字媒介语境下的互文性,为下文的论述厘清概念和历史的问题,定下本文的论述背景。第二章主要探讨的是数字化时代中互文性的三种表现形态,即平面文本、网络游戏及数字超文本中的互文性体现,并将重点放在对数字超文本中互文性的特点的探讨上数字媒介的跳跃、互动、开放、未完成等特性造就了以此为载体的互文性的独特性,即非线性与交互性、无中心和边界的开放性、文本的不确定性、无起点和终点的动态性、文本自由跳转的内在联想机制,这也是本文着力点之一。第三章探讨的是作为数字超文本特性的超文本性对传统互文性的突破,从外在载体形式到内在空间结构,从符号形态到美学范型展开论述。传统互文性赖以存在的载体是作为物质实体存在的印刷书本,这也造就了传统互文性在空间结构上的平面层级性,符号形态上的单一性；而作为依托计算机等技术载体的数字超文本则大大突破了传统互文性的平面性和单一性,交叉纵横的网状立体结构呈现出多路径的开放式文本,符号意义则呈现出多元复合性,美学范型也从模拟走向虚拟。第四章将研究角度投向超文本创作实践活动和实践成果的超文本作品,以更具体形象地展现数字超文本的独特性。本章首先介绍了数字超文本所借助的区别于传统手书纸写的专门创作工具。在此,论文特别强调了数字超文本创作实验及理论研究先驱——乔治·兰道、斯图亚特·摩斯罗普和大卫·博尔特——对数字超文本的发展成熟和理论体系建构所起到了不可磨灭推动作用。随后,论文介绍了最早的数字超文本作品当中蕴含的互文性：乔伊斯《下午》、莫罗斯普《胜利花园》、谢莉·杰克逊《拼缀女郎》,以此展现超文本的互文性批评实践成果。第五章探讨了超文本性作为互文性的当代价值,即本文写作的意义。
[Abstract]:Intertextuality, as a profound theoretical category, has been widely used in various disciplines and fields, and has been put into the new digital media context to carry out theoretical innovation and expand the connotation and extension of intertextuality. It also gives birth to new literary theory and practice postmodernism theory. Finally, digital hypertext can refute the theory of literary extinction. This paper takes the theory of intertextuality in the age of digital media as the research object, on the basis of tracing the origin of intertextuality, puts it in the context of digital media, and probes into its different forms of expression in the new context. And try to grasp the typical form of intertextuality in the context of digital media-hypertext as the object of study for theoretical analysis and practical criticism, explore the electronic hypertext compared with the traditional intertextuality theory innovation and breakthrough. And from the specific creative practice to determine its contemporary value and significance. This paper is divided into five chapters. In the first chapter, the author traces and induces the concept of intertextuality from synchronic and diachronic aspects, including the concept of intertextuality, theoretical internal function, and the performance of different historical stages. This chapter mainly presents the intertextuality in the spoken language era, printing era and digital media context. It clarifies the concept and history for the following discussion, and sets the background of this thesis. The second chapter mainly discusses the three forms of intertextuality in the digital age, namely, plane text, network game and digital hypertext. And focusing on the characteristics of intertextuality in digital hypertext, the characteristics of digital media, such as jump, interaction, openness and unfinished, have created the uniqueness of intertextuality, that is, nonlinearity and interactivity. It is also one of the key points of this paper that the openness of no center and boundary, the uncertainty of the text, the dynamic nature of the starting point and the end point, and the inherent associative mechanism of the free jump of the text. The third chapter discusses the breakthrough of traditional intertextuality as the characteristic of digital hypertext, from external carrier form to internal spatial structure, from symbol form to aesthetic paradigm. The carrier on which the traditional intertextuality depends is a printed book which exists as a material entity, which also brings up the plane hierarchy of the traditional intertextuality in the spatial structure and the singularity of the symbol form. The digital hypertext, which relies on computer and other technology carriers, has greatly broken through the planarity and singularity of the traditional intertextuality, the intersecting vertical and horizontal reticular stereoscopic structure presents multi-path open text, and the symbolic meaning is multivariate and complex. Aesthetic paradigm is also from simulation to virtual. The fourth chapter focuses on the hypertext works of practical activities and practical achievements of hypertext creation in order to show the uniqueness of digital hypertext more concretely and vividly. This chapter first introduces the digital hypertext, which is different from the traditional handwritten paper writing tools. In this paper, George Landau, a pioneer of experimental and theoretical research on digital hypertext creation, is especially emphasized. Stuart Mosrop and David Bolt played an indelible role in the development of digital hypertext and the construction of theoretical system. Then, the paper introduces the intertextuality contained in the earliest digital hypertext works: Joyce (afternoon), Morospy (Garden of Victory), Shelly Jackson (Spice Girl), so as to show the practical results of intertextuality criticism of hypertext. Chapter five discusses the contemporary value of hypertext as intertextuality, that is, the significance of this paper.
【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：G206.2;I109

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