符号学视阈下网络恶搞图片分析

发布时间：2018-05-30 02:37

本文选题：符号学 + 恶搞文化　；参考：《湘潭大学》2017年硕士论文

【摘要】：在思想文化交流蓬勃发展的新时期,符号学思想如波涛般汹涌澎湃,在不同领域的研究专著和理论应用极度广泛,尤其是应用符号学异军突起发展迅速,对美学、心理学、生态学、伦理学、新闻传播学等领域的意义日趋凸显,研究越来越深入透彻。尽管符号学理论在我国各学科领域的应用已经开始形成一股研究热潮,但从符号学角度对以网络恶搞图片为典型代表之一的恶搞文化研究还较少人涉足。大多数学术论著是从文化认同、法律、传播等等进行分析,鲜有论文对网络恶搞图片的符号构成、媒介传播、符号修辞等进行整体性考察,因而选取符号学角度研究网络恶搞图片作品是一个相对比较新的切入口,有一定的研究价值。符号学视阈下的网络恶搞图片作品分析,从符号构成到符号表意,反映的是一个在精英文化占据主导地位的社会,大众通过恶搞符号运作,试图解构和颠覆既有社会秩序,并希望能让自己的文化趣味得到认可和肯定,文化地位得到确立和承认的心理,文化力量与精英文化并驾前驱,普通人的乐趣背后同样蕴含着隐晦的深意。网络恶搞图片通过社会事件素材或既有文化符号,以嫁接、拼贴或修改等手段改编,富有幽默娱乐效果。其凭借包含移动互联网在内的互联网平台传播,试图表达对社会事件或社会现象的观点态度、宣泄自身情绪,是一种“草根平民化”行为。现代社会已发展为图像时代,在人类文化学研究中视觉图像所占据的价值可以说是不言自明的,尤其是视觉符号背后隐藏的文化价值和意识形态色彩。网络恶搞的发展历经四个阶段:从纯图片拼贴的PS阶段,到动态Flash阶段,继而发展到融合生活中人物故事元素的视频短片阶段,以及目前在全媒介尤其网络社交平台上,形式多样的综合型恶搞阶段。这一次次的“进阶”离不开大众的兴趣和批判心理、新媒介与技术环境、文化商品的商业形塑等多重因素的作用。不同主题的网络恶搞图片中,符号元素类型并不在同一个范围内,却能以新的组成模式同框出现,从而超越各自单独的符号意义,成为连接创作者与信息接收者之间独立性的符号模块。它作为人工制造的“纯符号”,在新的表意系统中已经全部被去历史化和去语境化,编码过程充分体现组合轴和聚合轴的双轴关系。与网络恶搞图片文本符号构成“组合搭档”的,则是符号构成中使用的符号修辞,以符号比喻和符号反讽两大手法为典型。网络恶搞图片中的符号修辞通过图像符号元素巧妙建构图像文本,利用文本性的“概念修辞”,达到加强视觉传播和表达意义的效果。网络恶搞图片符号意图和意义的发出,在接收者进入解释阶段开始实现价值。网络恶搞图片的伴随文本解读,包含了显性伴随文本、生成性伴随文本、解释性伴随文本、伴随文本执著。成功的网络恶搞图片作品往往选择经典性伴随文本,在符号文本的接收者感知其恶搞创意的同时,引导大众关注并思考恶搞背后所揭示的问题。通过网络恶搞图片的符号构成和符号表意,从符号学本质理解网络恶搞图片存在的合理性,为多角度认识网络恶搞文化提供了新的切入口,并揭示了符号思维下网络恶搞存在的问题,在符号学和网络恶搞文化之间架起一条沟通的纽带。同时让人清楚地认识和警惕网络恶搞图片传播背后隐藏的符号危机:恶搞图片传播中符号价值的消费欲望无限膨胀、泛娱乐化引发符号意义的缺失、过度开放后的反弹单轴化等。
[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.
【学位授予单位】：湘潭大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：G206

【参考文献】