比较符号学视阈下的《狂人日记》研究  

A Study of Diary of a Madman from the Perspective of Comparative Semiotics

作　　者：江忻鑫 JIANG Xinxin(Shanghai Normal University,Shanghai 200234,China)

机构地区：[1]上海师范大学,上海200234

出　　处：《扬州教育学院学报》2025年第1期30-33,83,共5页Journal of Yangzhou College of Education

基　　金：国家社会科学基金项目(19BZW114)。

摘　　要：基于索绪尔符号学“所指”与“能指”相统一的结构视阈,《狂人日记》呈现出标准语言规范、统一的整齐态貌,展露出文本、作品、作者相贯通的符号指征;基于索绪尔语言/语言符号、文化/文化符号相交涉的总体视阈,《狂人日记》指向古典、现代文化传统的时代并置,表露出古典文化维稳、保守、专制、封闭的文化/符号特征。然而同一文本在皮尔斯符号学“语言符号化”的动态视阈下,则显露出语言符号变化不定的异质美感。伴随着皮尔斯符号学符号本体的无限演绎,《狂人日记》又展露出新老文化/符号系统的相互转化、循环往复。From the point of view of the unity of the“signified”and the“signifier”in Saussure’s semiotics,Diary of a Madman presents the neat appearance of standard language norm and unity,and demonstrates the symbolic references of the text and the authors of the works.Based on Saussure’s language/linguistic symbols and culture/cultural symbols,Diary of a Madman points to the juxtaposition of classical and modern cultural traditions,demonstrating the cultural/symbolic characteristics of classical culture,which is stable,conservative,authoritarian and closed.However,the same text presents the heterogeneous beauty of linguistic symbols from the perspective of linguistic symbolization in Peirce’s semiotics.With the infinite interpretation of Pierce’s semiotic ontology of symbols,Diary of a Madman showcases the infinite cycle between the symbols and cultures in which the old and new cultures transform into and uphold each other.

关 键 词：鲁迅 《狂人日记》 符号学 索绪尔 皮尔斯 

分 类 号：I210.97[文学—中国文学]