摘要
图像符号再现观是古德曼艺术符号学的核心内容,其中“密集”与“例示”构成了这一观念的主要内涵。古德曼认为,图像符号再现并不基于符号与对象的相似性,而是由一个“密集”的符号系统所决定的。这种“密集”图式本质上是一种“模拟”图式,其基础在于符号与符号之间的相似性。然而,古德曼并未完全取消符号与对象的关系维度。他进一步提出,艺术中的图像再现是一种“例示”。“例示”的本质在于对例示性对象的直接“显示”,它具有不透明性与直接性的特征,是审美征候之一。古德曼的图像再现观受到贡布里希的影响,其语言学基础一方面与结构-后结构主义相关,另一方面秉持严格限制的彻底相对主义立场,并未走向彻底的“语言建构主义”。古德曼的图像符号再现观展现出一种试图将“符号与符号”“符号与对象”以及“符号与情境”加以统一的理论努力,这对于当代艺术理论的建构具有重要的启示意义。
The theory of pictorial symbolic representation constitutes the core of Nelson Goodman's artistic semiotics,with"dense"and"exemplification"forming its primary content.Goodman contends that pictorial symbolic representation is not grounded in the similarity between the sign and its object,but rather determined by a"dense"sign system.This"dense"schema is essentially an"analogical"schema,founded on the similarity between signs themselves.However,Goodman does not entirely eliminate the relational dimension between sign and object,as he further proposes that pictorial symbolic representation in art constitutes an"exemplification."The essence of"exemplification"lies in the direct"display"of the exemplified object,characterized by opacity and immediacy,constituting one of the aesthetic symptoms.Goodman's theory of pictorial representation was influenced by Gombrich,with its linguistic foundation rooted in structuralpoststructuralist thought,while maintaining a stance of constrained relativism,avoiding a complete shift toward"linguistic constructivism."Goodman's theory of pictorial symbolic representation demonstrates a theoretical endeavor to unify"signs with signs,""signs with objects,"and"signs with contexts,"offering significant insights for constructing contemporary art theory.
出处
《山东社会科学》
北大核心
2025年第10期52-61,81,共11页
Shandong Social Sciences
基金
国家社科基金重大项目“当代艺术提出的重要美学问题研究”(项目编号:20&ZD050)的阶段性成果。
关键词
古德曼
图像符号再现观
“密集”
“例示”
“模拟”
Nelson Goodman
the theory of pictorial symbolic representation
"dense"
"exemplification"
"analogy''
