本文選題：符號(hào)學(xué)視域 + 蘭州形象�。� 參考：《西北民族大學(xué)》2014年碩士論文

【摘要】：以研究意義為內(nèi)容的符號(hào)學(xué)為文學(xué)研究提供了理論支撐與方法論,書(shū)寫(xiě)者將城市的地域文化和精神內(nèi)涵演繹為具體的文字,這是一種符號(hào)化的過(guò)程,對(duì)于文藝作品中各類(lèi)文化符號(hào)所攜帶意義的解讀過(guò)程,則是對(duì)社會(huì)文化的反向再現(xiàn)。 文藝作品中的蘭州形象,是這座城市精神狀態(tài)的體現(xiàn),是有別于其他城市的內(nèi)在氣質(zhì)和根本價(jià)值追求,是這座城市延續(xù)和發(fā)展的靈魂。眾多文學(xué)作品中對(duì)它的描寫(xiě)與敘述正是對(duì)這些文化內(nèi)涵的解讀與思考,被敘述下的蘭州形象,是對(duì)蘭州這座城市文化與社會(huì)的集體想象,它們毫無(wú)例外地介入到這個(gè)城市的精神層面,對(duì)城市文化的總體而貌進(jìn)行了概述。這種被作者加工過(guò)的城市形象是活態(tài)的,有著不同的人文感知,是不同的時(shí)期不同的主流意識(shí)形態(tài)、時(shí)代風(fēng)尚、美學(xué)潮流等等的變異,攜帶了不同的意義。 本文試圖在較廣泛的文化氛圍中,以各種手稿檔案、影視作品、民謠、文字文本等廣義的文本為載體,以符號(hào)學(xué)的方法論來(lái)解析蘭州的城市形象,突破以往文學(xué)研究領(lǐng)域中局限于文字文本的符號(hào)視域。為此,筆者將這些攜帶意義的文化符號(hào),根據(jù)其物源的的構(gòu)成分為自然符號(hào)、人工符號(hào)、藝術(shù)符號(hào)三種類(lèi)別,在符號(hào)學(xué)的視域下對(duì)各類(lèi)文藝作品中描述的蘭州城市形象進(jìn)行文化解讀。 黃河、兩山等自然物本沒(méi)有攜帶意義,僅僅是純自然的物體,然而在創(chuàng)作者的描述中,它們成為蘭州城市形象奔放、豪邁、干冽的文化縮影,在文藝作品中被意識(shí)符號(hào)化,攜帶上具有蘭州本土精神氣質(zhì)的意義；黃河上的羊皮筏子、鐵橋、水車(chē),古老的街道,這些人工創(chuàng)作出來(lái)的符號(hào),這些使用物本也無(wú)符號(hào)意義可言,在文藝作品中,它們成為這座工業(yè)城市的代表,被認(rèn)為攜帶著這座城市近百年的經(jīng)歷、歷史風(fēng)貌,演變?yōu)槌鞘形幕姆?hào)代表；要提到的是,為了表達(dá)這座城市的文化特征,文藝家們飽含著情感創(chuàng)造出一些攜帶蘭州形象的文藝作品,這些文藝形式包含京蘭腔、蘭州地下民謠、微電影等,他們本身就是作為意義載體被制造出來(lái)的。無(wú)論是哪種符號(hào)意義,實(shí)用的還是藝術(shù)的,兩者的區(qū)別不在于符號(hào)本身,在于接受者的理解,對(duì)于文化符號(hào)的解讀,不同的讀者群有著不同的體驗(yàn)。 這樣,在“大局面”的文本中,解析、深化蘭州的符號(hào)形象,樹(shù)立蘭州城市的文化形象,拓展蘭州的文化發(fā)展空間,便可以為打造“文化蘭州”鋪墊理論依據(jù)。
[Abstract]:Semiotics, which takes the meaning of research as the content, provides theoretical support and methodology for literary research. The writers deduce the regional culture and spiritual connotation of the city into concrete characters, which is a process of symbolization. The process of interpreting the meaning of all kinds of cultural symbols in literary works is the reverse reappearance of social culture. The image of Lanzhou in literary works is the embodiment of the city's spiritual state, the intrinsic temperament and fundamental value pursuit different from other cities, and the soul of the continuation and development of this city. The description and narration of it in many literary works is the interpretation and thinking of these cultural connotations. The image of Lanzhou, which is narrated, is a collective imagination of the culture and society of Lanzhou. Without exception, they get involved in the spiritual level of the city, and summarize the overall appearance of the city culture. The city image which has been processed by the author is alive, has different humanistic perception, is the variation of different mainstream ideology, times fashion, aesthetic trend and so on, and carries different meanings. In a wider cultural atmosphere, this paper attempts to analyze the city image of Lanzhou in the light of semiotics methodology, with a variety of manuscripts, film and television works, folk songs, text and other generalized texts as the carrier. Break through the past literature research field limited to the text of the symbolic field of vision. Therefore, the author divides these cultural symbols with meaning into three categories: natural symbol, artificial symbol and artistic symbol according to the composition of their source. From the perspective of semiotics, the cultural interpretation of Lanzhou city image described in various literary works is carried out. Natural objects, such as the Yellow River and the two mountains, had no meaning, but were merely natural objects. However, in the creator's description, they became the cultural epitome of Lanzhou's unrestrained, heroic and dry city, and were symbolized by consciousness in literary and artistic works. Bearing the meaning of Lanzhou's native spiritual temperament; the raft of sheepskin, the iron bridge, the water cart, the ancient streets on the Yellow River, these artificially created symbols, which also have no symbolic significance, in literary works. They become the representatives of this industrial city, which is believed to have carried the city's nearly 100 years of experience, historical features, and evolved into a symbol of the city's culture; it is to be mentioned that in order to express the cultural characteristics of the city, The writers and artists are full of emotion to create some literary works with Lanzhou image, these literary forms include Jinglan cavity, Lanzhou underground ballad, micro-film, etc., they are created as the carrier of meaning. No matter what kind of symbolic meaning, practical or artistic, the difference between the two lies not in the symbol itself, but in the understanding of the receiver. Different readers have different experiences in the interpretation of cultural symbols. In this way, in the text of "big situation", analyzing and deepening the symbol image of Lanzhou, setting up the cultural image of Lanzhou city and expanding the space of cultural development of Lanzhou can lay the theoretical foundation for the creation of "cultural Lanzhou".
【學(xué)位授予單位】：西北民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：G122

【參考文獻(xiàn)】

中國(guó)期刊全文數(shù)據(jù)庫(kù) 前3條

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本文編號(hào)：1810326