杨子荣图像志研究  

An Iconographic Study of Yang Zirong's Image

作　　者：张节末[1] 陆颖[2] ZHANG Jiemo;LU Ying

机构地区：[1]浙江大学传媒与国际文化学院 [2]浙江大学人文学院

出　　处：《暨南学报（哲学社会科学版）》2019年第2期77-101,共25页Jinan Journal(Philosophy and Social Sciences)

基　　金：浙江省哲学社会科学项目"样板戏版本整理与研究"(14NDJC127YB)

摘　　要：杨子荣作为曲波小说《林海雪原》的人物原型,实现了从小说文本向视觉文化符号的转向。本文以20世纪50—70年代的早期杨子荣造像为考察对象,探究跨文化、跨媒介视域下的杨子荣图像阐释与视觉衍生。杨子荣图像范式的确立,保障并巩固了图像接受的群众基础,这得益于英雄造像对传统文化的隐性留存、移用与强化。范式化的杨子荣图像输出,为中西视觉文化的传播、共融与再造提供可能,催生并推动视觉文化的创生。由此,杨子荣从具象人物转向抽象符号,而杨子荣图像则成为集体观念与多元文化交互的载体。Yang Zirong,as the prototype of Qu Bo's novel Tracks in the Snowy Forest,has experienced a transformation from textual character into visualized cultural symbol.This paper takes the early Yang Zirong images between the 1950s and 1970s as research object,explores the image interpretation and visual recreation of Yang Zirong under a trans-cultural and cross-media perspective.The establishment of the paradigm of Yang Zirong image guarantees and consolidates the mass base of image acceptance,which is due to the implicit retention,transformation and reinforcement of heroic traditional cultures.Gradually,the output of the paradigm of Yang Zirong image provides the possibility to diffuse,integrate and recreate relevant visual cultures,both domestically and overseas.Therefore,Yang Zirong turns from a figurative character into an abstract symbol,while Yang Zirong's image turns into a carrier of collective concepts and multicultural interactions.

关 键 词：杨子荣 图像志 图像符号 文化创生 跨文化 

分 类 号：I206.7[文学—中国文学]