本文選題：符號學(xué) + 惡搞文化��； 參考：《湘潭大學(xué)》2017年碩士論文

【摘要】：在思想文化交流蓬勃發(fā)展的新時期,符號學(xué)思想如波濤般洶涌澎湃,在不同領(lǐng)域的研究專著和理論應(yīng)用極度廣泛,尤其是應(yīng)用符號學(xué)異軍突起發(fā)展迅速,對美學(xué)、心理學(xué)、生態(tài)學(xué)、倫理學(xué)、新聞傳播學(xué)等領(lǐng)域的意義日趨凸顯,研究越來越深入透徹。盡管符號學(xué)理論在我國各學(xué)科領(lǐng)域的應(yīng)用已經(jīng)開始形成一股研究熱潮,但從符號學(xué)角度對以網(wǎng)絡(luò)惡搞圖片為典型代表之一的惡搞文化研究還較少人涉足。大多數(shù)學(xué)術(shù)論著是從文化認(rèn)同、法律、傳播等等進(jìn)行分析,鮮有論文對網(wǎng)絡(luò)惡搞圖片的符號構(gòu)成、媒介傳播、符號修辭等進(jìn)行整體性考察,因而選取符號學(xué)角度研究網(wǎng)絡(luò)惡搞圖片作品是一個相對比較新的切入口,有一定的研究價值。符號學(xué)視閾下的網(wǎng)絡(luò)惡搞圖片作品分析,從符號構(gòu)成到符號表意,反映的是一個在精英文化占據(jù)主導(dǎo)地位的社會,大眾通過惡搞符號運(yùn)作,試圖解構(gòu)和顛覆既有社會秩序,并希望能讓自己的文化趣味得到認(rèn)可和肯定,文化地位得到確立和承認(rèn)的心理,文化力量與精英文化并駕前驅(qū),普通人的樂趣背后同樣蘊(yùn)含著隱晦的深意。網(wǎng)絡(luò)惡搞圖片通過社會事件素材或既有文化符號,以嫁接、拼貼或修改等手段改編,富有幽默娛樂效果。其憑借包含移動互聯(lián)網(wǎng)在內(nèi)的互聯(lián)網(wǎng)平臺傳播,試圖表達(dá)對社會事件或社會現(xiàn)象的觀點態(tài)度、宣泄自身情緒,是一種“草根平民化”行為�，F(xiàn)代社會已發(fā)展為圖像時代,在人類文化學(xué)研究中視覺圖像所占據(jù)的價值可以說是不言自明的,尤其是視覺符號背后隱藏的文化價值和意識形態(tài)色彩。網(wǎng)絡(luò)惡搞的發(fā)展歷經(jīng)四個階段:從純圖片拼貼的PS階段,到動態(tài)Flash階段,繼而發(fā)展到融合生活中人物故事元素的視頻短片階段,以及目前在全媒介尤其網(wǎng)絡(luò)社交平臺上,形式多樣的綜合型惡搞階段。這一次次的“進(jìn)階”離不開大眾的興趣和批判心理、新媒介與技術(shù)環(huán)境、文化商品的商業(yè)形塑等多重因素的作用。不同主題的網(wǎng)絡(luò)惡搞圖片中,符號元素類型并不在同一個范圍內(nèi),卻能以新的組成模式同框出現(xiàn),從而超越各自單獨的符號意義,成為連接創(chuàng)作者與信息接收者之間獨立性的符號模塊。它作為人工制造的“純符號”,在新的表意系統(tǒng)中已經(jīng)全部被去歷史化和去語境化,編碼過程充分體現(xiàn)組合軸和聚合軸的雙軸關(guān)系。與網(wǎng)絡(luò)惡搞圖片文本符號構(gòu)成“組合搭檔”的,則是符號構(gòu)成中使用的符號修辭,以符號比喻和符號反諷兩大手法為典型。網(wǎng)絡(luò)惡搞圖片中的符號修辭通過圖像符號元素巧妙建構(gòu)圖像文本,利用文本性的“概念修辭”,達(dá)到加強(qiáng)視覺傳播和表達(dá)意義的效果。網(wǎng)絡(luò)惡搞圖片符號意圖和意義的發(fā)出,在接收者進(jìn)入解釋階段開始實現(xiàn)價值。網(wǎng)絡(luò)惡搞圖片的伴隨文本解讀,包含了顯性伴隨文本、生成性伴隨文本、解釋性伴隨文本、伴隨文本執(zhí)著。成功的網(wǎng)絡(luò)惡搞圖片作品往往選擇經(jīng)典性伴隨文本,在符號文本的接收者感知其惡搞創(chuàng)意的同時,引導(dǎo)大眾關(guān)注并思考惡搞背后所揭示的問題。通過網(wǎng)絡(luò)惡搞圖片的符號構(gòu)成和符號表意,從符號學(xué)本質(zhì)理解網(wǎng)絡(luò)惡搞圖片存在的合理性,為多角度認(rèn)識網(wǎng)絡(luò)惡搞文化提供了新的切入口,并揭示了符號思維下網(wǎng)絡(luò)惡搞存在的問題,在符號學(xué)和網(wǎng)絡(luò)惡搞文化之間架起一條溝通的紐帶。同時讓人清楚地認(rèn)識和警惕網(wǎng)絡(luò)惡搞圖片傳播背后隱藏的符號危機(jī):惡搞圖片傳播中符號價值的消費(fèi)欲望無限膨脹、泛娛樂化引發(fā)符號意義的缺失、過度開放后的反彈單軸化等。
[Abstract]:In the new period of the flourishing development of Ideological and cultural exchanges, the ideology of semiotics is surging, the research monographs and theories are widely used in different fields, especially the rapid development of applied semiotics, and its significance to aesthetics, psychology, ecology, ethics and Journalism and communication is becoming more and more important. Although the application of the theory of Semiotics in various fields of our country has begun to form a hot research upsurge, few people have been involved in the study of KUSO culture from the perspective of semiotics. Most of the academic works are analyzed from cultural identity, law, communication and so on, and few papers are on the net. It is a relatively new entry point to study the picture works of the Network KUSO, which is a relatively new entrance, and has certain research value. The analysis of the picture works of the Network KUSO under the threshold of semiotics, from the symbol to the symbol, reflects the one. In a society dominated by the elite culture, the masses try to dissolve and subvert the existing social order through the operation of the kusooy symbols, and hope that their cultural taste can be recognized and affirmed, the cultural status is established and recognized, and the cultural power and the elite culture are forerunner, and behind the fun of ordinary people It is rich in humorous and entertaining effects through social event material or both cultural symbols, grafting, collage, or modification. It is rich in humorous and entertaining effects. By virtue of the Internet platform including the mobile Internet, it tries to express views on social events or social phenomena and vent its own emotions. It is a "grass". The modern society has developed into an image age. In the study of human culture, the value of visual images can be said to be self-evident, especially the cultural values and ideological colors hidden behind the visual symbols. The development of the Network KUSO has gone through four stages: from the PS stage of the pure picture collage to the dynamic Flash The stage, then developed to the video short stage of the element of the character story in life, and the various forms of comprehensive Kuso at present in the whole media, especially on the network social platform. This "advance" is inseparable from the public interest and critical psychology, the new media and technology environment, the commercial plastic of cultural commodities. In the Network KUSO pictures of different topics, the symbol element type is not in the same range, but can appear in the new composition pattern with the frame, thus surpassing the separate symbolic meaning and becoming the symbol module of the independence between the connection creator and the receiver of information. The meaning system has been completely historized and de contextualized. The encoding process fully embodies the dual axis relation of the combination axis and the polymerization axis. The "combination partner" with the picture text symbols of the Network KUSO is the symbol rhetoric used in the symbol composition, and the symbol metaphor and the symbol anti irony are the typical two characters in the Network KUSO picture. The number rhetoric constructs the image text skillfully through the image symbol element, and uses the textual "concept rhetoric" to enhance the effect of the visual communication and expression. The intention and meaning of the picture symbol of the Network KUSO begin to realize the value at the stage of the receiver's entry into the interpretation. With the text, the generative adjoint text, the interpretative adjoint text, and the text clinging to the text, the successful Internet Kuso pictures often choose the classic accompanying text, while the recipient of the symbolic text perceives his Kuso creativity, guides the public to pay attention to the problems behind the Kuso. And symbolic meaning, from the essence of semiotics to understand the rationality of the existence of the Network KUSO picture, provide a new entry point for understanding the Network KUSO culture in multiple angles, and reveal the problems of the Network KUSO under the symbolic thinking, and make a gap between the semiotics and the Network KUSO culture. At the same time, people clearly understand and guard the net. The symbolic crisis hidden behind the image dissemination of the collaterals: the consumption desire of the symbolic value in the picture spread of the Kuso is indefinitely expanded, the ubiquitous entertainment leads to the lack of symbolic meaning, and the rebound uniaxial after the excessive opening.
【學(xué)位授予單位】：湘潭大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：G206

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