目的 随着社会经济的发展,人们对文化商品的需求已不再仅限于实用性,同时对其审美需求也日益提高。在这种消费社会的环境下,书籍装帧设计逐渐成为影响消费者购买决策的决定性因素。方法 通过符号学双轴理论的框架,分析2024年“世界最美的书”中国获奖作品的装帧设计。从符号学角度出发,探讨获奖作品在设计过程中如何实现内容与形式的统一并通过具体实例阐述设计中符号意义的生成机制。结果 中国获奖作品在书籍装帧设计中,成功地实现了内容与形式的有机结合。通过符号学双轴理论的分析,这些作品不仅在视觉上给人以美的享受,而且在符号层面上增强了书籍的文化价值和信息传达效果。结论 成功的书籍装帧设计不仅需要在视觉上出众,还需在符号层面上与书籍内容紧密结合,以实现审美价值和文化价值的双重提升。这为未来书籍装帧设计提供了新的思路和方法。
Abstract
With the development of the social economy, people's demand for cultural products is no longer limited to practicality alone; their aesthetic needs are also increasing. In the context of a consumer society, book cover design has gradually become a decisive factor influencing consumers' choices to purchase books. Through the framework of the semiotic dual-axis theory, book cover design of the Chinese award-winning works of the "World's Most Beautiful Book" in 2024 was analyzed. From the perspective of semiotics, ways for the award-winning works achieve the unity of content and form in the design process were explored, and the generation mechanism of symbolic meaning in design was analyzed through specific examples. Chinese award-winning works successfully achieved an organic combination of content and form in book cover design. Through the analysis of the semiotic dual-axis theory, these works not only offered people aesthetic enjoyment visually, but also enhanced the cultural value and information transmission effect of the books at the symbolic level. A successful book cover design not only needs to highlight visually, but also closely integrates with the book content at the symbolic level to achieve a dual enhancement of aesthetic and cultural values. This provides new ideas and methods for future book cover design.
关键词
符号双轴 /
装帧设计 /
意义生成 /
最美图书
Key words
semiotic dual-axis /
book cover design /
meaning generation /
most beautiful books
{{custom_sec.title}}
{{custom_sec.title}}
{{custom_sec.content}}
参考文献
[1] 索绪尔F D, 高名凯. 普通语言学教程[M]. 北京: 商务印书馆,1980: 170.
SAUSSURE F D, GAO M K.Course in General Linguistics[M]. Beijing: Commercial Press, 1980: 170.
[2] JAKOBSON R, HALLE M.The Metaphoric and Metonymic Poles[M]//Fundamentals of language. Hague: Mouton Press, 1956: 76-82.
[3] 赵毅衡, 贾佳. 艺术文本的组合轴演变与体裁位移[J]. 西南民族大学学报: 人文社会科学版, 2021, 42(7): 7.
ZHAO Y H, JIA J.Evolution of the Combinatory Axis and Genre Shift in Artistic Texts[J]. Journal of Southwest Minzu University: Humanities and Social Sciences Edition, 2021, 42(7): 7.
[4] 巴尔特, 李幼蒸. 符号学原理[M]. 北京: 三联书店, 1988: 42.
BARTHES, LI Y Z. Principles of Semiotics[M]. Beijing: Sanlian Bookstore, 1988: 42.
[5] TULVING E.Episodic and Semantic Memory[J]. Organization of Memory, 1972, 1(381-403): 1.
[6] 赵毅衡. 符号学原理与推演[M]. 南京: 南京大学出版社, 2016: 164.
ZHAO Y H.Principles and Derivations of Semiotics[M]. Nanjing: Nanjing University Press, 2016: 164.
[7] 闫艳. 基于符号学的品牌联名设计解读[J]. 包装工程, 2020, 41(2): 80-83.
YAN Y.Interpretation of Brand Co-design Based on Semiotics[J]. Packaging Engineering, 2020, 41(2): 80-83.
[8] 郭旭东. 重塑“原真性”城市: 当代街道景观的符号表意分析[J]. 新闻大学, 2022(7): 95-105.
GUO X D.Reshaping "Authenticity" of the City: A Semiotic Analysis of Contemporary Street Landscape[J]. Journalism University, 2022(7): 95-105.
[9] 巴尔特, 李幼蒸. 符号学原理[M]. 北京: 三联书店, 1988: 71.
BARTHES, LI Y Z. Principles of Semiotics[M]. Beijing: Sanlian Bookstore, 1988: 71.
[10] 孙艳, 童翠萍. 书衣翩翩[M]. 北京: 三联书店, 2006: 56.
SUN Y, TONG C P.The Fluttering Book Jacket[M]. Beijing: Sanlian Bookstore, 2006: 56.
[11] 唐弢. 晦庵书话[M]. 第二版. 北京: 生活·读书·新知三联书店, 2007: 147.
TANG T.Hui’an Book Talks[M]. 2nd ed. Beijing: Life·Reading·New Knowledge Sanlian Bookstore, 2007: 147.
[12] 谢其章. 出书记[M]. 北京: 中央编译出版社, 2016: 47.
XIE Q Z.Preface to the Book[M]. Beijing: Central Compilation & Translation Press, 2016: 47.
[13] 巴尔特R, 赵克非. 明室: 摄影纵横谈[M]. 北京: 文化艺术出版社, 2003.
BARTHES R, ZHAO K F.Camera Lucida: Reflections on Photography[M]. Beijing: Culture and Art Publishing House, 2003.
[14] 赵毅衡. 符号学原理与推演[M]. 南京: 南京大学出版社, 2016: 165.
ZHAO Y H.Principles and Derivations of Semiotics[M]. Nanjing: Nanjing University Press, 2016: 165.
[15] 王卫波. 意义感知与文化生产: 符号学视角下的书籍装帧设计新探[J]. 中国出版, 2018(11): 31-33.
WANG W B.Meaning Perception and Cultural Production: New Exploration of Book Design from Semiotic Perspective[J]. China Publishing, 2018(11): 31-33.
[16] 闫文君. 作为文学伴随文本的书籍装帧[J]. 当代文坛, 2012(6): 54-57.
YAN W J.Book Design as Accompanying Literary Text[J]. Contemporary Literary Forum, 2012(6): 54-57.
[17] 郑工, 于广华. 全文本视角下文艺类图书出版的意义生成[J]. 出版科学, 2020, 28(3): 52-58.
ZHENG G, YU G H.The Generation of Meaning in Literary Book Publishing from a Full-text Perspective[J]. Publishing Science, 2020, 28(3): 52-58.
[18] 叶圣陶. 开明书店二十周年纪念文集[M]. 北京: 中华书局, 1947: 157.
YE S T.20th Anniversary Commemorative Collection of Enlightened Bookstore[M]. Beijing: Zhonghua Book Company, 1947: 157.
[19] 龙迪勇. “出位之思”与跨媒介叙事[J]. 文艺理论研究, 2019(3): 13.
LONG D Y.“Out-of-place Thinking” and Cross-media Narrative[J]. Literary Theory Research, 2019(3): 13.
[20] 赵毅衡. 符号学原理与推演[M]. 南京: 南京大学出版社, 2016: 132.
ZHAO Y H.Principles and Derivations of Semiotics[M]. Nanjing: Nanjing University Press, 2016: 132.
[21] 赵毅衡. 艺术符号学: 艺术形式的意义分析[M]. 成都: 四川大学出版社, 2022: 46.
ZHAO Y H.Art Semiotics: Meaning Analysis of Artistic Forms[M]. Chengdu: Sichuan University Press, 2022: 46.
[22] 赵毅衡. 符号美学与艺术产业[M]. 成都: 四川大学出版社, 2023:73.
ZHAO Y H.Semiotic Aesthetics and the Art Industry[M]. Chengdu: Sichuan University Press, 2023: 73.
[23] 刘涛. 符号抗争:表演式抗争的意指实践与隐喻机制[J]. 中国地质大学学报: 社会科学版, 2017, 17(4): 12.
LIU T.Semiotic Struggle: Performative Protest’s Practice of Signification and Metaphorical Mechanism[J]. Journal of China University of Geosciences: Social Sciences Edition, 2017, 17(4): 12.
[24] 饶广祥, 陈艳杰. 从“呈符中停”到“庸常回归”: 商品设计艺术化的意文机制[J]. 符号与传媒, 2023(2): 60-73.
RAO G X, CHEN Y J.From "Pause in Presenting Signs" to "Return to Ordinariness": The Semiotic Mechanism of Commodified Design Art[J]. Signs and Media, 2023(2): 60-73.
基金
教育部人文社科基金青年项目(22XJJC760001)