符号学视阈下《思凡》的跨域嬗递--从《孽海记·思凡》到电影《霸王别姬》

A Study on Cross-domain Changes of “Sifan” from Perspective of Semiotics--From the Kunqu Opera “The Story of the Wicked Sea· Sifan” to the Film “Farewell My Concubine”

应用符号学理论,对《思凡》的跨域嬗递进行梳理,发现作为昆曲文本的《思凡》是肖似符,并在剧本的基础上发展出其系统内部的索引符和象征符:作为戏剧术语的《思凡》是索引符,而作为影视建构的《思凡》则是象征符。通过对"思凡"故事类型的梳理和结构模式的提炼,结合"凡"的多重涵义,探索"思凡"符号的意蕴生成。

The exploration of cross-domain changes of"Sifan"from the perspective of semiotics unveils that"Sifan"as a Kunqu opera is the icon in Peirce’s semiotic theory, generating on the basis of the dramatic script index and symbol within the system."Sifan"as a dramatic term functions as the index, whereas"Sifan"constructed in the film industry is the symbol. Through sorting out the story types and structural patterns of"Sifan"and taking into consideration the multiple meanings of the character"fan", this paper probes into the meaning formation of the sign"Sifan".