從20世紀初索緒爾和皮爾斯符號學開始，符號學經過一個多世紀的發展，已成為一門具有完備體系的學科，也因富有邏輯性而被稱為人文學科中的數學。本書是建立在“圖像轉向”和“媒介景觀”兩個時代背景下的“后語言學符號學”，以“圖像性iconicity”為立論基礎及核心線索，系統性地討論語言、文學、藝術中的像似性問題，以及它們在當今新媒介語境中的呈現；旨在為當今傳媒文化景觀提供系統化闡述，進而形成一門“圖像符號學”。作為對圖像符號學理論的研究，本書有兩個明顯特點：一是指向“媒介景觀”的意義闡釋；二是，也是更重要的特點，本書引入中國古典文化中的符號思想遺產，這部分內容或許可以為中國之外的學者提供一個理解中國文化思維的途徑。
1.國家社科基金重大招標項目《當今中國文化現狀與發展的符號學研究》（13&ZD123）子課題之“文化符號學原理與當今中國文化發展”
2. 國家社科基金重大專項“‘巴蜀圖語’符號譜系整理分析與數字人文傳播研究”（2018VJX047）
Table of Contents
Chapter 1 Introduction: From Image to Spectacle 1
1.1 The Image Age and Theories of the Image 1
1.2 Semiotics as the Methodology to Master Media Spectacles 5
1.3 Main Areas of Iconicity 8
1.3.1 The Importance of Iconicity (像似性, xiangsixing) 8
1.3.2 Iconicity in Linguistics 10
1.3.3 Verbal Icons in Literature and General Images in Contemporary Media 12
1.4 Research Scope and Development 14
Chapter 2 Sign and Image 18
2.1 Sign and the Pedigreeof Image 18
2.1.1 Sign 18
2.1.2 Image 27
2.1.3 Motivation 41
2.2 Image as an Icon 49
2.2.1 An Icon Not Necessarily an Image 49
2.2.2 Degree of Iconicity 51
Chapter 3 Transparent Languages 65
3.1 Terms and Concepts 65
3.1.1 The Semiotic Logic of the Word Sources of象,像, and 相 67
3.1.2 Word Formation and Terminology Generation 76
3.1.3 Major Discussions of Linguistic Iconicity 80
3.2 A Universal Language 86
3.2.1 Symbolic Evolution 87
3.2.2 The Utopia of Language 88
3.2.3 Language Differentiation 93
3.2.4 Perfect Signs 96
Chapter 4 Verbal Icon 105
4.1 A General Introduction to Verbal Icon 106
4.1.1 Descriptive Verbal Icon 109
4.1.2 Metaphor and Symbolic Verbal Icon 114
4.2 From Verbal Icon to Fuxiang 119
4.2.1 The Tradition and Meaning Evolution of Fuxiang 120
4.2.2 Cross-media Rhetoric 123
4.3 Cross-Media and Image Narrative 132
4.3.1 Dilatation of Narratology 133
4.3.2 Image and Minimal Narrative 138
Chapter 5 Art Images 151
5.1 The Dimension of Humanities 152
5.1.1 Panofsky and Cassirer 152
5.1.2 Text of Art Sign 156
5.2 Perspective and the Code of Proportions 161
5.2.1 “Perspective” as a Code: Self-contained Codability of Decoding 161
5.2.2 Coordination of Perspective Code 163
5.2.3 Artistic Representation and Transcendence of Perspective 167
5.3 The Evolution of Art 171
5.3.1 Semiotic Attributes of Artistic Images 172
5.3.2 From Imitation to Representation 174
5.3.3 Representation and Expression 177
5.3.4 Artistic Consciousness 183
Chapter 6 Simulacrum 193
6.1 Image and the Self 194
6.1.1 The Development of Image Theory 194
6.1.2 Reflexive Image 202
6.2 Simulation 209
6.2.1 “Pseudo-environment” and Semiotic “Authenticity” 211
6.2.2 The Truth of Advertising, Journalism and Literature 218
Chapter 7 The Cultural Spectacle 230
7.1 The Articulate World 230
7.1.1 Platonic Representation231
7.1.2 The Four Natures 236
7.1.3 The Discipline to Which the Image World Belongs247
7.2 Thinking in Sign in Chinese Culture 252
7.2.1 Xiang (象): The Imitation of the Universe in Ancient China 252
7.2.2 Yixiang (意象): The Image Evolution of the Chinese Cultural System 253
7.2.3 Chinese Aesthetic Pursuit Derived from Yixiang258
Notes 268 References 270
Part I: English References 270
Part II: Translated References (Chinese Editon) 274
Part III: Chinese References 278
Postscript 282
新書資訊