论罗兰·巴特“今日神话”思想的符号学意义

罗兰·巴特运用结构主义符号学的研究方法,以语言的内部结构分析为基础范式,探讨大众文化的结构及其语义产生机制。他认为大众文化中充满了＂今日神话＂,其功能及运作方式与传统神话如出一辙。＂今日神话＂自始至终具有虚幻性和欺骗性,是一种语言掠夺,通过符号的三级意指系统潜入媒介,进行中产阶级意识形态渗透,旨在使其自然化和正当化,最终达到维护社会秩序,保持现存的社会制度和中产阶级意识形态永久不变的目的。＂今日神话＂的发现及其运作方式的剖析对大众文化符号学的研究具有开拓性意义。     

文学性的危机与变迁:巴特与洛特曼的启示

基于传统文学理论范式危机,巴特以交互主体性解放结构,洛特曼强调文学的交流功能。两人皆从文本多因互动格局入手,积极引入读者维度,构建审美主体间的交往对话关系,不仅使现代文学的知识范式跳出语言学牢笼,促成文本从静态结构到跨学科书写实践过程的转变,而且有助于在"后理论时代"观照文化视野中的文艺存在,重塑文学理论形态。     

MYTHOLOGIES REVISITED: ROLAND BARTHES AND THE LEFT

This essay arises from the author's scepticism about the received notion, prevalent both in literary and cultural studies, that Roland Barthes's work of the 1960s constituted an abandonment of the previous decade's social critique. The paper develops the argument that, to the contrary, understanding Barthes's socio-cultural development following World War II and in the French cultural context helps to situate the political engagement of his writings in the 1950s and to clarify the continued political commitment of this work from the 1960s onward. This essay addresses a series of questions: what was Barthes's relationship to the 1950s French intelligentsia that prepared his active participation in the heterodoxical Marxist journal, Arguments, a forum for many of the urgent intellectual debates between 1956-62? What is the relationship of this activity to his writings of the early 1950s, developed into Mythologies in 1957, as well as to the shift toward semiology and structuralism and to the purported abandonment of social critique betokened by this shift? How do these phases inform the different readings of Barthes's work developed in more recent interpretations of his writing? It is argued that we would do better to view the structuralist phase and especially the ‘later’ Barthes (from the late 1960s onward) more fully and deliberately in relation to the early, explicitly political period. This revised perspective, one not limiting Barthes to works such as Mythologies, will help us better comprehend Barthes's continuing legacy for sociosemiotic critique both in literary criticism and in cultural studies and to create new ground for interdisciplinary dialogue that is very much needed in an era of questioning the limits and borders of this field.     

对巴尔特零度写作理论的再读解

罗兰·巴尔特的零度写作理论,在强调不含思想感情的零度的、中性的写作同时,提倡自由的语言形式和语言结构表现,在主张写作主体消解的同时,又试图通过作家的风格间接地表现主体的思想情绪和观念意图,表现出零度写作理论丰富的内涵与深刻的辩证美学思想.     

Signifyin' Cinema: Rudy Ray Moore and the Quality of Badness

This article engages the limits of both film and race studies in their approach to heterogeneous and “low” forms of African American cultural production through an analysis of the films of Rudy Ray Moore. While Moore’s films have been almost entirely overlooked in both film studies and black studies, they were extremely popular among black youth of the 1970s and have exerted a powerful influence on today’s hardcore hip hop artists (and their understanding of how to turn black market entrepreneurship into global enterprise). The theory of “signifying”, advanced most rigorously by black literary theorist Henry Louis Gates Jr, helps explain how and why Moore has slipped through various critical nets — and grounds a claim for why we should take “bad” black film seriously. Close film and context analysis illustrates how Moore’s low‐budget films “signify” on Hollywood and the system of expectancies that go with putatively “good” filmmaking and reveals the extent to which they constitute a hybrid cultural and multimedia practice. As vehicles designed to elaborate on the badman of black folklore, Moore’s films contribute to the long history and rich language of “toasting” in African American oral culture and music. As such, far from being emblematic of black filmmaking’s impoverished relationship to mainstream cinema (as a cinema manqué), these films constitute vital precursors to the hip hop music video.     

论巴特的文本的愉悦理论及其他

罗兰.巴特的文学批评实践、批评理论建构往往和他的生存紧密结合在一起,尤其是其《文本的愉悦》、《恋人絮语》等著述更是将文本创作、接受的愉悦和生活爱情的愉悦(快感)联系起来,从而开创了一种把性爱之快感与文本之快感奇妙结合起来的新文论观。这体现了巴特文本愉悦理论的人文主义色彩。     

昨日神话——罗兰·巴特“今日神话”说的儒学格义

罗兰·巴特发现今日神话是隐藏于大众文化中的中产阶级意识形态;文中的昨日神话指主导了中国古代思想界几千年的儒家仁学价值体系,其核心是“格物、致知、诚意、正心、修身、齐家、治国、平天下”。香草在文学作品中的意象最能体现昨日神话在中国的存在性和渗透性。     

昨日神话

罗兰·巴特发现今日神话是隐藏于大众文化中的中产阶级意识形态;文中的昨日神话指主导了中国古代思想界几千年的儒家仁学价值体系,其核心是“格物、致知、诚意、正心、修身、齐家、治国、平天下”。香草在文学作品中的意象最能体现昨日神话在中国的存在性和渗透性。     

“上帝之死”与“作者之死”——作为解构主义哲学基础的尼采

本文以尼采的"上帝之死"与罗兰.巴特的"作者之死"两个哲学命题的相似性为切入点,对解构主义与尼采在哲学思想上的渊源进行了探讨,证明解构主义理论中对于作者权威的解构以及文本终极意义的不确定性等基本观点皆可自尼采对理性以及宗教的解构中找到根据。因此,可以说,尼采是现代以及后现代解构主义思想的理论奠基人。     

修辞的痕迹:解读德里达的罗兰·巴特悼词

悼词在西方古典修辞学中属于炫耀式文类,旨在为逝者歌功颂德,使其永垂不朽。然而德里达认为这种将逝者归类的做法,抹煞了逝者的个体性,宣布了逝者作为个体的二次死亡。德里达的巴特悼词通过运用开放、支离破碎的话语和转喻,试图打破这种封闭的话语空间。尽管他想方设法冲破语言的牢笼,但最终还是难以避免地留下了修辞的痕迹。