內容大鋼
從20世紀初索緒爾和皮爾斯符號學開始，符號學經過一個多世紀的發展，已成為一門具有完備體系的學科，也因富有邏輯性而被稱為人文學科中的數學。本書是建立在「圖像轉向」和「媒介景觀」兩個時代背景下的「后語言學符號學」，以「圖像性iconicity」為立論基礎及核心線索，系統性地討論語言、文學、藝術中的像似性問題，以及它們在當今新媒介語境中的呈現；旨在為當今傳媒文化景觀提供系統化闡述，進而形成一門「圖像符號學」。作為對圖像符號學理論的研究，本書有兩個明顯特點：一是指向「媒介景觀」的意義闡釋；二是，也是更重要的特點，本書引入中國古典文化中的符號思想遺產，這部分內容或許可以為中國之外的學者提供一個理解中國文化思維的途徑。
本書可為符號學、傳播學研究者提供參考，也可供對中華傳統文化符號思想感興趣的讀者閱讀。
作者介紹
胡易容|責編:常春娥
胡易容，傳播符號學博士，戰略傳播方向博士后出站，教授。四川大學符號學-傳媒學研究所特聘研究員，桂林電子科技大學廣西區政府數字傳播與文化軟實力社科重點基地常務副主任，清華大學國家形象傳播研究中心特聘專家。中國文化傳播符號學會學術委員會秘書長，中國語言符號學會常務理事，國際符號學會會員。主要研究傳播符號學，從事品牌戰略工作多年。著有《圖像符號學：傳媒景觀世界的圖式把握》、《傳媒符號學》，編著《符號學-傳媒學詞典》。
目錄
Chapter 1 Introduction: From Image to Spectacle
1.1 The Image Age and Theories of the Image
1.2 Semiotics as the Methodology to Master Media Spectacles
1.3 Main Areas of Iconicity
1.3.1 The Importance of Iconicity (像似性, xiangsixing)
1.3.2 Iconicity in Linguistics
1.3.3 Verbal Icons in Literature and General Images in Contemporary Media
1.4 Research Scope and Development
Chapter 2 Sign and Image
2.1 Sign and the Pedigreeof Image
2.1.1 Sign
2.1.2 Image
2.1.3 Motivation
2.2 Image as an Icon
2.2.1 An Icon Not Necessarily an Image
2.2.2 Degree of Iconicity
Chapter 3 Transparent Languages
3.1 Terms and Concepts
3.1.1 The Semiotic Logic of the Word Sources of象,像, and 相
3.1.2 Word Formation and Terminology Generation
3.1.3 Major Discussions of Linguistic Iconicity
3.2 A Universal Language
3.2.1 Symbolic Evolution
3.2.2 The Utopia of Language
3.2.3 Language Differentiation
3.2.4 Perfect Signs
Chapter 4 Verbal Icon
4.1 A General Introduction to Verbal Icon
4.1.1 Descriptive Verbal Icon
4.1.2 Metaphor and Symbolic Verbal Icon
4.2 From Verbal Icon to Fuxiang
4.2.1 The Tradition and Meaning Evolution of Fuxiang
4.2.2 Cross-media Rhetoric
4.3 Cross-Media and Image Narrative
4.3.1 Dilatation of Narratology
4.3.2 Image and Minimal Narrative
Chapter 5 Art Images
5.1 The Dimension of Humanities
5.1.1 Panofsky and Cassirer
5.1.2 Text of Art Sign
5.2 Perspective and the Code of Proportions
5.2.1 「Perspective」 as a Code: Self-contained Codability of Decoding
5.2.2 Coordination of Perspective Code
5.2.3 Artistic Representation and Transcendence of Perspective
5.3 The Evolution of Art
5.3.1 Semiotic Attributes of Artistic Images
5.3.2 From Imitation to Representation
5.3.3 Representation and Expression
5.3.4 Artistic Consciousness
Chapter 6 Simulacrum
6.1 Image and the Self
6.1.1 The Development of Image Theory
6.1.2 Reflexive Image
6.2 Simulation
6.2.1 「Pseudo-environment」 and Semiotic 「Authenticity」
6.2.2 The Truth of Advertising, Journalism and Literature
Chapter 7 The Cultural Spectacle
7.1 The Articulate World
7.1.1 Platonic Representation
7.1.2 The Four Natures
7.1.3 The Discipline to Which the Image World Belongs
7.2 Thinking in Sign in Chinese Culture
7.2.1 Xiang (象): The Imitation of the Universe in Ancient China
7.2.2 Yixiang (意象): The Image Evolution of the Chinese Cultural System
7.2.3 Chinese Aesthetic Pursuit Derived from Yixiang
Notes
References
Part I: English References
Part II: Translated References (Chinese Editon)
Part III: Chinese References
Postscript
[