洛特曼的结构文艺符号学研究

发布时间：2018-05-16 04:37

本文选题：尤利·米哈依洛维奇·洛特曼 + 结构符号学　；参考：《南京师范大学》2002年硕士论文

【摘要】： 尤利·米哈依洛维奇·洛特曼(Юрий　ииайлович　Лотман)(1922—1993)是20世纪苏联著名文艺理论家、符号学家，他创造性地构建了自己的结构文艺符号学，在他的领导下形成了塔尔图文化符号学派。作为塔尔图学派的代表人物，他对文艺理论和符号学做出的重大贡献越来越为国际文艺学界及符号学界所瞩目。本文将洛特曼的结构文艺符号学置于俄罗斯和西方文艺理论发展的坐标系中，在仔细研读他的《结构诗学讲义》、《艺术本文的结构》等主要理论著作的基础上，力求抓住洛特曼文艺理论的核心部分，以他对艺术语言这个重要问题的重新认识为切入点，对其理论内核进行阐释和分析。本文认为，洛特曼理论的基本出发点是把艺术看作一种特殊的语言，这种特殊的语言是作为第二模拟系统建立在自然语言基础上的，在把艺术确定为一种语言体系后，他用语言学的方法对它进行阐释。这一理论的核心是用整体性、系统化的研究方法来阐释艺术本文问题，把艺术本文系统作为一个符号系统来加以考察，，侧重分析各种文艺现象和要素之间的相互关系，努力揭示整体结构与各个组成部分之间的联系，通过对艺术本文结构的研究来达到对艺术创作内容与形式的统一认识。洛特曼在理论上的成功之处是他把艺术的内容与形式有机地结合到了一起，他认为，艺术本文结构的变化直接决定着艺术作品的内容和意义，因此在探讨艺术本文的意义生成时，往往从内在联系的角度，把本文的内容与形式看成是一个不可分割的有机整体。在阐释和剖析其理论的基础上，本文接着探寻这一理论的历史渊源，揭示洛特曼在继承俄国形式主义的基础上所作的超越和创新，指出这一理论的独特价值在于它继承了早期苏联结构主义，即俄国形式主义的理论精华，摈弃了俄国形式主义的片面性，纠正了它研究方法上的失误，做到了分析艺术作品时思想内容与艺术形式的有机结合，正是在这一点上洛特曼超越了俄国形式主义。理论上的独创和对前人的超越根植于思维方法的更新与重建，本文在第三部分主要探讨洛特曼的理论在方法论上给予我们的启示，通过回顾19世纪后半期和20世纪的西方文艺批评理论发展的进程，揭示这一百多年来西方文艺批评理论所走过的“批评的循环”，并以此指出洛特曼走出了传统科学研究中“二元对立”思维模式的门槛，步入了“多元共生”的新境地，这种思维方式的转变是洛特曼的结构文艺符号学创新的基础。本文认为，洛特曼一直在探寻一种能够把形式主义批评与社会历史批评结合起来的理论途径，也就是把空间的静态分析与历史的动态分析融合起来，把本文的形式研究与文化的语境研究联系起来。他在寻求把这两种批评结合起来的过程中，走的是一条中西方文学批评传统相结合的途径，这是洛特曼研究方法的一个重要特征。本文旨在通过对洛特曼理论的研究，指出洛特曼及其追随者们对西方文艺理论和批评发展所做的贡献，分析他的理论在西方文论发展史中所处的位置，揭示其理论在批评思维模式和分析方法上的创新，并进一步指出洛特曼的贡献己超越了文艺学的界限，对我们整个人文社会科学研究方法论的重新构建，都具有十分重要的意义。
[Abstract]:Yuri Mihailovich Lotman (1922 - 1993) is a famous Soviet literary theorist and Semiotics in twentieth Century. He creatively constructed his own structural literary semiotics and formed the Tartu School of cultural symbols under his leadership. As a representative of the Tartu school, he is a representative of the school of literature. Great contributions to literary theory and semiotics have attracted more and more attention from international literary and art circles and semiotics.
This paper puts Lotman's structural literature and art semiotics in the coordinate system of the development of Russian and Western literary and artistic theories. On the basis of his careful study of his main theoretical works, such as his lecture on structural poetics, the structure of art, and other major theoretical works, it tries to seize the core of Lotman's literary theory and reconsider the important issue of the language of art. The basic starting point of Lotman's theory is to think of art as a special language. This special language is based on the natural language as the second simulation system. After the art is defined as a language system, he uses the linguistic approach to it. The core of this theory is to interpret the question of art by means of a holistic and systematic research method, to examine the system of art as a system of symbols, to focus on the analysis of the relationship between various literary and artistic phenomena and elements, to reveal the relationship between the whole structure and the components, and to pass on the art of art. The success of Lotman's theoretical success is that he combines the content and form of art together. He believes that the changes in the structure of art directly determine the content and significance of the art works, so that the meaning of the art is discussed. On the basis of interpretation and analysis of his theory, this article explores the historical origin of this theory and reveals Lotman's transcendence and innovation on the basis of inheriting Russian formalism, pointing out the uniqueness of this theory. The special value is that it inherits the early Soviet structuralism, that is, the essence of Russian formalism, abandoning the one-sided nature of Russian formalism, correcting the errors in its research methods and the organic combination of the ideological content and the artistic form in the analysis of the art works, and that Lotman transcends Russian formalism on this point. In the third part, the third part mainly discusses the enlightenment given to us in the methodology of the theory and the transcendence of the predecessors in the way of thinking. Through the review of the development of western literary criticism theory in the latter half of the nineteenth Century and twentieth Century, the theory of western literary criticism has been revealed. The "cycle of criticism" has been passed and pointed out that Lotman has stepped out of the threshold of "two yuan antagonism" mode of thinking in the traditional scientific research and entered a new situation of "multiple symbiosis". The transformation of this mode of thinking is the innovation of Lotman's structural literary and artistic semiotics.
This article argues that Lotman has been exploring a way to formalism criticism and social history criticism.
The theoretical approach is to combine the static analysis of space with the dynamic analysis of history.
The form of literature is related to the contextual study of culture. He is seeking to combine these two criticisms.
In the process, it is a way to combine Chinese and Western literary criticism tradition, which is one of Lotman's research methods.
An important feature.
This article aims at studying Lotman theory and pointing out that Lotman and his followers are interested in western literary theory.
On the contribution of the development of criticism and the analysis of the position of his theory in the development history of western literary theory,
His theory has made innovations in criticizing the mode of thinking and analytical methods, and further pointed out that Lotman's contribution has surpassed himself.
The boundaries of literature and art are very important for the reconstructing of the methodology of Humanities and social sciences.
Important meaning.

【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2002
【分类号】：J0

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