感觉质与呈符化:当今符号美学的“新感性”趋势  

Qualia and Rhematization:"The New Sensuousness"in Today's Semiotic Aesthetics

作　　者：赵毅衡 Zhao Yiheng(Semiotics&Narratology of Sichuan University)

机构地区：[1]四川大学文学与新闻学院

出　　处：《符号与传媒》2023年第1期5-21,共17页Signs & Media

摘　　要：本文讨论的是感觉质、呈符与艺术产业的符号美学之间的关系,尤其是与艺术符号学的关系,以及与当今艺术产业的关系。从符号美学审视,可以发现当代艺术与艺术学的总趋势是越来越重视感性,而感性的基础是皮尔斯首先阐述的“感觉质”,而感觉质尚非符号。一旦它开始携带意义,就成为能影响解释的最基本符号“呈符”。围绕这两个关键概念,皮尔斯提出了符号文本的十分类,即符号文本从简单到复杂的十个阶段。艺术符号文本往往停留在呈符的阶段,“呈符化”是当代艺术中明显可见的趋势。符号美学称这个现象为“新感性”。这不是艺术的退步,而是当代艺术,尤其是产业艺术彰显人的创造精神的倾向。From the perspective of semiotic aesthetics,it is obvious that the general trend of art and art theories inclines to a new sensuality,of which the starting point is qualia which C.S.Peirce first expounded as non-signs.Once they carry meaning,they become rhemes that affect the interpretant,thus becoming rhemes.Therefore,he raises the idea of Ten Principal Classes of signs,which is actually the ten stages of semiotic texts from simple to complicatedness.Yet artistic texts tend to stay on the stage of rhemes.Thus,rhematization has been the salient feature of art today.The trend is often called"new sensuousness".It is by no means a regression but highlighting of the creative spirit in art also artistic industry.

关 键 词：十进阶 感觉质 呈符化 符号美学 

分 类 号：I01[文学—文学理论]