摘要
《画皮》是《聊斋志异》中传播最广、辨识度最高的作品之一。本文选取了清代(1886版)和当代(2013版)两个不同版本的《画皮》插画作为研究对象,通过运用以格雷马斯(A.J.Greimas,1917-1992)为代表的巴黎符号学派和比利时列日大学的视觉符号学研究团队(Le Groupeμ)的理论进一步分析,从而更深层次地剖析插画背后的符号学结构与含义。
The Painted Skin is one of the most popular and recognizable work of Strange Tales from Liaozhai.This article selects two different versions of the illustrations of The Painted Skin from the Qing Dynasty(1886 edition)and the modern era(2013 edition)as the objects of study.The aim of this research is to analyze the semiotic structures and elaborate deeper insights behind the illustrations by using the theories of the Parisian school of semiotics represented by A.J.Greimas(1917-1992)and the visual semiotics research team(Le Groupeμ)of the University of Liège,Belgium.
作者
李梦一
王秀慧
LI Meng-yi;WANG Xiu-hui(Sorbonne university,Faculty of Arts and Humanities,Paris 75006 France;Lvcheng Second Elementary School,Zhangdian District,Zibo 255051,China)
出处
《蒲松龄研究》
2021年第3期100-111,共12页
Study on Pu Songling
关键词
聊斋插画
画皮
符号学分析
视觉符号学
Illustrations of Liaozhai
Painted Skin
semiotic analysis
Visual Semiotics
