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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
This paper introduces the concept of extension of Barthes semiotics into the study of Northern Song and Southern Dynasties landscape painting, which is actually related to Saussure semiology and Pierce semiotics. In discussing the internal relations between the symbolic “syllables and words”, Saussure’s words and the signification of a symbol can be transformed into the signifiers of the next symbol. Similarly, Pierce’s “explanation item” It can also be the sign of the previous symbol and the sign of the next symbol. So, the symbolic process of meaning is extended. Unfortunately, as the two founding fathers of modern semiology, Saussure and Pierce both failed to elaborate further the issue of extending meaning, nor did they put this theoretical concept into the practice of symbolic research. By the mid-20th century, Roland The efforts of French cultural critics such as Barthes (1915-1980), the symbolic meaning of the process in cultural interpretations