塔尔图符号学在中国  

Evolution and Research of Tartus Semiology in China

作　　者：王立业[1] 

机构地区：[1]北京外国语大学俄语学院

出　　处：《俄罗斯文艺》2015年第3期105-114,共10页Russian Literature & Arts

基　　金：国家社科基金重大项目<新中国外国文学研究60年>阶段性成果。项目编号:09&ZD071

摘　　要：塔尔图符号学于20世纪60年代初形成于苏联,80年代中期进入中国,并经历三个阶段的演变,即1986-1993初步推介阶段、1994-2004纵深研究阶段、2005-2012多元扩展阶段。塔尔图符号学两大学科分支,即文艺符号学与文化符号学在中国扭结交错。先是清一色的文艺符号学研究,后是文艺符号学占主要地位,文化符号学初露头角,最后是文化符号学研究飙升,渐进取代单义的文艺符号学研究。塔尔图符号学研究发展至今,已经不再仅是初阶段认定的文学理论,而是包罗万象的广义文化。Tartus Semiology, established in USSR at the beginning of 1960s, was introduced to China in the middle of 1980s. The concerned research of the nearly 30 past years in China can be divided into three phases ： the tentative introduction phase from 1986 to 1993, the deepening phase from 1994 to 2004 and the phase from 2005 to 2012 with enlarging views, multiple conceptions and rich fruits. The two main branches of Tartus Semiology ： art Semiology and culture Semiology have been interwoven. In the first phase, the whole-colored was art Semiology ; in the second phase, art Semiology was in the highest flight and the culture Semiology made its first appearance ; in the third phase, culture Semiology has gradually been soaring and replacing the art Semiology. Now it is not only a literary theory as recognized at the first phase, but also a kind of coverall culture.

关 键 词：塔尔图符号学 洛特曼 文艺符号学 文化符号学 

分 类 号：I0[文学—文学理论]