符号学与艺术史(上)  

Semiotics and art history(part I)

作　　者：米耶克·巴尔 诺曼·布列逊 杨贤宗(译)[2] 赵淑慧(译) Mieke Bal;Norman Bryson;Yang Xianzong(Translated);Zhao Shuhui(Translated)(不详;School of Fine Arts,Central China Normal University)

机构地区：[1]不详 [2]华中师范大学美术学院

出　　处：《湖北美术学院学报》2025年第1期4-20,共17页Hubei Institute of fine Arts Journal

摘　　要：这是发表于《艺术通报》上有关符号学的重要篇章,两位主要的符号学家兼美术史家巴尔和布列逊在文中梳理了符合学的发展及其对传统美术史提出的挑战。在皮尔士与索绪尔的符号学理论基础上,作者通过对“语境”“作者”“接受者”等核心概念的解构,揭示出传统美术史方法论的内在矛盾。全文贯穿着对艺术史学科范式的反思,并将符号学与女性主义、精神分析和叙事学相关联,从而打破了实证主义的桎梏,拓宽了艺术作品的解释维度。This is a seminal piece on semiotics published in the Art Bulletin,in which two leading semioticians and art historians,Bal and Bryson,meticulously examine the development of semiotics and the challenges it poses to traditional art history.Building upon the semiotic theories of Peirce and Saussure,the authors deconstruct core concepts such as“context”,“author”,and“receiver”,thereby exposing the internal contradictions of traditional art historical methodologies.The essay is permeated with reflections on the paradigmatic norms of art history,and it connects semiotics with feminism,psychoanalysis,and narratology,thus breaking free from the shackles of positivism and broadening the interpretive horizons of artistic works.

关 键 词：符号学 语境 精神分析 叙事学 

分 类 号：J0-05[艺术—艺术理论]