摘要
总体性的“艺术”仅仅是一个相对意义上的统称,一个代表所有具体门类艺术的“家族相似性”概念。洛特曼把总体性的艺术看成一个大的“符号圈”,而这个符号圈中又存在由各门类艺术构成的多个小符号圈。符号圈具有两个基本特征:一是有界性,即符号圈是有边界的,主要关涉内外关系;二是不均衡性,即符号圈区分为“中心”与“外围”,这是符号圈的内部组织规则。这两个特征都给“艺术文本”的跨媒介叙事带来了深刻影响。综合运用“家族相似性”和“符号圈”理论,不仅可以很好地解释艺术与非艺术,以及艺术符号圈中不同艺术门类之间的跨媒介叙事问题,而且可以合理地解释同一种文学、艺术体裁中的“互参”现象。
The totality of art is only a relative term,a concept of“family resemblance”that represents all the specific categories of art.Lotman sees the overall art as a large semiosphere,and within this semiosphere are many small semiospheres composed of various categories of art.Semiosphere has two basic characteristics:1.boundedness,that is,semiosphere has boundaries,which is mainly related to internal and external relations;2.imbalance,that is,semiosphere is distinguished into center and periphery,which is the internal organizational rule of the semiosphere.Both of these features have brought about a profound impact on the inter-media narrative of art texts.The combined application of the theories of“family resemblance”and“semiosphere”can not only explain the inter-medial narrative problems between art and non-art and among different categories of art in the artistic semiosphere,but also reasonably explain the inter-references in the same literary and artistic genres.
出处
《中国文艺评论》
CSSCI
2024年第6期44-68,I0002,I0003,共27页
China Literature and Art Criticism
基金
2023年度国家社科基金重大项目“中国古代空间叙事体系研究”(项目批准号:23&ZD278)的阶段性成果。
关键词
家族相似性
符号圈
跨媒介叙事
有界性
不均衡性
family resemblance
semiosphere
inter-media narrative
boundedness
imbalance
