發(fā)布時間：2018-04-27 10:19

  本文選題：符號學視域 + 蘭州形象��； 參考：《西北民族大學》2014年碩士論文

【摘要】：以研究意義為內(nèi)容的符號學為文學研究提供了理論支撐與方法論,書寫者將城市的地域文化和精神內(nèi)涵演繹為具體的文字,這是一種符號化的過程,對于文藝作品中各類文化符號所攜帶意義的解讀過程,則是對社會文化的反向再現(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)和根本價值追求,是這座城市延續(xù)和發(fā)展的靈魂。眾多文學作品中對它的描寫與敘述正是對這些文化內(nèi)涵的解讀與思考,被敘述下的蘭州形象,是對蘭州這座城市文化與社會的集體想象,它們毫無例外地介入到這個城市的精神層面,對城市文化的總體而貌進行了概述。這種被作者加工過的城市形象是活態(tài)的,有著不同的人文感知,是不同的時期不同的主流意識形態(tài)、時代風尚、美學潮流等等的變異,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,以符號學的方法論來解析蘭州的城市形象,突破以往文學研究領(lǐng)域中局限于文字文本的符號視域。為此,筆者將這些攜帶意義的文化符號,根據(jù)其物源的的構(gòu)成分為自然符號、人工符號、藝術(shù)符號三種類別,在符號學的視域下對各類文藝作品中描述的蘭州城市形象進行文化解讀。 黃河、兩山等自然物本沒有攜帶意義,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符號化,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,古老的街道,這些人工創(chuàng)作出來的符號,這些使用物本也無符號意義可言,在文藝作品中,它們成為這座工業(yè)城市的代表,被認為攜帶著這座城市近百年的經(jīng)歷、歷史風貌,演變?yōu)槌鞘形幕姆柎�；要提到的�?為了表達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的。無論是哪種符號意義,實用的還是藝術(shù)的,兩者的區(qū)別不在于符號本身,在于接受者的理解,對于文化符號的解讀,不同的讀者群有著不同的體驗。 這樣,在“大局面”的文本中,解析、深化蘭州的符號形象,樹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".
【學位授予單位】：西北民族大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：G122

【參考文獻】

中國期刊全文數(shù)據(jù)庫 前3條

1 王家達;戴上草帽走蘭州[J];絲綢之路;1998年02期

2 趙燕翼;苦斗漫憶──建國前兩年我在蘭州的經(jīng)歷[J];絲綢之路;1998年05期

3 姜青青;“驪條”，

本文編號：1810326