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一、重建叙事在艺术史学界闹哄哄的“反对宏大叙事”、“主张个人叙事”之类老旧的后现代喧嚣之后,冷静反思,这喧嚣无非是解构主义的陈腐的颠覆策略而已。在21世纪,艺术史的叙事需要重建,而符号学则是重建之一法,是艺术史学之当代性的体现。关于这一法,在20世纪80年代,现代符号学转进为当代符号学。为什么是80年代?德里达在60年代提出解构主义思想,其《论书写学》在70年代译为英文,使解构主义思想在80年代得以风靡美国学术界。解构主义是个分水岭,统治西方学术界大半个世纪的现代主义知识结构和认知体系在80年代被颠覆
I. Reconstruction of narrative After the old nomadic nostalgia of postmodernism such as “Opposing the grand narrative” and “Advocating personal narrative” in the nomadic art historiography, the noisy is nothing more than the obsolete subversive strategy of deconstruction . In the 21st century, the narrative of art history needs to be rebuilt, while semiotics is one of the methods of reconstruction and the embodiment of the contemporary nature of art historiography. About this method, in the 1980s, modern semiotics turned into contemporary semiotics. Why 80s? Derrida put forward the deconstruction thought in the 1960s. His “theory of writing and learning” was translated into English in the 1970s, making the deconstruction thought swept American academia in the 1980s. Deconstruction is a watershed. Modernist intellectual structures and cognitive systems that dominated the western academic community for more than half a century were subverted in the 1980s