中国现代文学“图像世界”的三种图像模式  

Three Image Modes in the Picture Images of Modern Chinese Literature

作　　者：付建舟[1] FU Jianzhou

机构地区：[1]浙江师范大学人文学院和江南文化研究中心,浙江金华321004

出　　处：《学术月刊》2021年第7期168-178,共11页Academic Monthly

基　　金：国家社会科学基金后期资助重点项目“清末民初《说部丛书》叙录”(19FZWA002)的阶段性成果。

摘　　要：中国现代文学著译作品所配的大量封面图和插图构成丰富多彩的“图像世界”。经过“现象观察”,我们总结出三种主要图像模式,即“呐喊”图像模式、“两面人”图像模式和“自由魂”图像模式,并试图用图像符号学理论对这三种模式的诸多表现予以阐释;与此同时,我们还发现,这三种图像模式各自代表了三个不同的时代:“呐喊”图像模式反映的是五四时期,“两面人”图像模式反映的是20年代末至30年代,“自由女神”图像模式则对应了三四十年代。这三种模式是中国现代文学“图像世界”的一个缩影,体现了中国现代文学三十年来时代主题的历史变迁。A large number of cover and book illustrations in the works of modern Chinese literature form rich and colorful picture images. Based on the observations of these illustrations, three major image modes have been found, which is "cryout" image mode, bifacial image mode and "free spirit" image mode. By using the method of iconograhpy and semiotics this essay aims to expound lots of images of these three modes.And it has been found that these three modes represent three different times: "cryout" mode representing the May Fourth period;bifacial mode representing the period of the late 1920 s and 1930 s;"free spirit" mode representing the period of the 1930 s and 1940 s. These three modes illustrate the picture images of modern Chinese literature, reflecting the historical changes of the theme of times of modern Chinese literature over thirty years.

关 键 词：中国现代文学 图像世界 “呐喊”图像模式 “两面人”图像模式 “自由魂”图像模式 

分 类 号：I206[文学—中国文学]