新媒体文本表意论:从“语图关系”到“语图间性”  

Ideographic text of new media: From“language-icon relationship”to“language-icon intertextuality”

作　　者：鲍远福[1] 

机构地区：[1]贵州民族大学传媒学院,贵州贵阳550025

出　　处：《南京邮电大学学报（社会科学版）》2016年第1期11-22,38,共13页Journal of Nanjing University of Posts and Telecommunications(Social Science Edition)

基　　金：教育部人文社会科学研究青年基金项目"大众传媒与文艺理论创新"(10YJC751002);贵州省省级特色重点学科"新闻传播学"阶段性成果之一

摘　　要：与传统文艺形态的表意方式相比,新媒体文本实现了"语图关系"向"语图间性"的"过渡"和"转向"。从跨学科的视角看,新媒体文本的表意实践力图建构一种"语图间性"的理论模型,表现为"望文生图""读图思文""图文悖谬""图文互见""文嵌图内"和"图溢文外"六种批评模式的多元互动。"语图间性"模型是对现代传媒全面参与文艺实践的学理阐释,也是当代文艺理论研究体系创新和范式转换的内在要求。Compared with traditional aesthetic practice, new media text has realized the transition and turn from ＂language-icon relationship＂ to ＂language-icon intertextuality＂. From the interdisciplinary per- spective, the intertextuality when reading bedded in the ideographic practice of new media text tries to build up a theoretical model of language-icon , which is embodied as ＂Image is showing in the process of watching the text＂, ＂Think of text the image＂, ＂Paradox of image and text＂, ＂Intertextuality of image and text＂, ＂Text is em- image＂ and ＂Image escapes out of the text＂. These six patterns of the model constitute a multiple interactive structure. The theoretical model of the ＂language-icon intertextuality＂ is the academic interpretation of the practice of literature and art in which modem media has fully participated. It is also the inherent requirement for the innovation and transformation of contemporary literary theory research system.

关 键 词：新媒体文本 审美表意 语图关系 语图间性 

分 类 号：G206[文化科学—传播学] I206[文学—中国文学]