艺术符号学基础的反思与现象学存在论重建

发布时间：2018-03-29 16:13

本文选题：艺术符号学　切入点：现象学存在论　出处：《南京社会科学》2017年04期

【摘要】：目前艺术符号学研究的两大主要理论基础,索绪尔符号学和皮尔斯符号学,虽然对于符号学研究来说都具有革命性意义,但对于艺术研究来说则都存在着根本性局限,它一是不能很好地解释艺术符号的本质和意义,二是不能很好解决艺术符号与物的关系。当今的艺术符号学研究要想获得突破性进展,需要对这两大理论基础的局限性进行反思,并尝试以现象学理论,尤其是以海德格尔的现象学存在论符号观对之加以重建。根据海德格尔的观点,符号的性质是显示,符号的显示同时是指涉,指涉则是一种关系。符号显示因此不仅显示符号自身的存在,而且指涉与符号存在相关联的因缘整体或存在场域。并且早期的海德格尔特别强调符号显示与日常生活的关系。海德格尔的现象存在论符号观,以其对"显示"的强调超越了皮尔斯再现论符号学的意义难题,以其对"指涉"的强调打破了索绪尔形式主义符号学的封闭性,并以其对"生活实践"的强调,勾画了那种生存论符号学的可能性向度。这些都使它能够为当今的艺术符号学基础的现象学重建提供基点性支撑和可行性思路。
[Abstract]:At present, Saussure semiotics and Pierce semiotics are the two main theoretical bases of art semiotics, although they are both revolutionary to the study of semiotics, but they have fundamental limitations to the study of art. One is that it can not explain the essence and significance of artistic symbols, the other is that it can not solve the relationship between artistic symbols and objects. In order to make a breakthrough in the study of art semiotics today, It is necessary to reflect on the limitations of these two theoretical bases and try to reconstruct them with phenomenological theory, especially Heidegger's phenomenological existentialism. The display of symbols also refers to the relation, and refers to the relation. Therefore, the symbol display not only shows the existence of the symbol itself, In addition, Heidegger especially emphasized the relationship between symbol display and daily life. With its emphasis on "display", it transcends the meaning problem of Pierce's reappearance theory, breaks the closeness of Saussure's formalistic semiotics with its emphasis on "finger involvement", and emphasizes "life practice". It outlines the possibility of existential semiotics, which enables it to provide basic support and feasible ideas for the phenomenological reconstruction of the foundation of art semiotics today.
【作者单位】：南京大学艺术研究院;
【分类号】：J0-05

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