تحلیل نشانه شناسی پوسترهای فرهنگی به مثابه متن در آغاز دهه 80 (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نشانه شناسی پوستر به مثابه متن، یک فرصت تحلیلی برای ورود به جهان متن تجسمی است تا به واسطه دلالت های متنی آن، قدرت کشف و شناسایی مفاهیم موجود متنی ایجاد گردد. پوسترهای فرهنگی، یکی از مقوله های گرافیک با استفاده از نشانه های تصویری و نوشتاری ارتباط میان مخاطب و اثر را شکل داده، اما با میدان بیشتری برای نمایش تخیل ورزی مواجه و از این نظر متمایز اند. این آثار در آغاز دهه 80، چون نقطه عطفی از لحاظ کمّی وکیفی تفاوت های عمده ای نسبت به گذشته داشته است. هدف مقاله پیش رو این است که با تحلیل، تاویل و شناخت و بررسی میان نشانه ای نشانه های تصویری و نوشتاری پوسترهای فرهنگی در آغاز دهه80، به گرایش های حاکم بر آثار پی ببرد. گفته پردازان، دال های (نشانه های تصویری و نوشتاری) گفته خود را به شکل هوشمندانه ای درهم تنیده که علاوه بر دلالت معنایی در نظام نشانه ای خاص خود، هم زمان در نظام های نشانه ای دیگر نیز ایفای نقش کنند تا دریافت معنا برای گفته خوان به تعویق بیفتد. نشانه شناسی کلاسیک (پرس و سوسور)، دلالت های معنایی دال واحد در نظام پیچیده یک متن تجسمی را با توجه به نظام های نوشتاری و تصویری رمزگشایی خواهد کرد. در نتیجه گفته پردازان، گرایش هایی چون کمینه گرایی، وجه تصویرسازانه، غیاب عکس و تغزلی برخورد کردن با گفته، اهمیت دانستن پردازش در ذهن مخاطب و غیره را در گفته خود منعکس کرده اند.cultural posters semiology analyzed as text at the beginning of the decade 80
Cultural Posters Semiology Analyzed as Text at the Beginning of the Decade 80
Morteza Babak Moein*1, Fatemeh Rezaei2
1 Associate Professor, Islamic Azad University, Tehran Branch Center, Tehran, Iran.
2 M.A. of Art Research, Tehran University of Science and Culture, Tehran, Iran.
(Received 2 Jan 2016, Accepted 11 Nov 2017)
Abstract
Cultural posters like other posters, are applying different sign system in order to transfer their message to addressees. Basically posters that be selected in this article, applying different system of signs, in order to transfer massage to addressee. Senders, in frame of aesthetic discourses, so articulate signifiers of their massage that the time of understanding of these discourses is postponed and be showed hegemon cultural-political discourse. Posters that studied in this research, be selected from Tehran posters early at 1380s and is based on discourses that signifiers within them, in addition to play signifying role in its own system of signs, with attending to context, simultaneously playing different role in other system of signs. In other word, signifiers in these optical discourses will be connected to several signifying systems. In this article, along with considering to challenge between these system of signs, with a comparative-discursive analysis, hegemon discourse in Tehran posters early at 1380s, relation between selected posters and discourse, factors that effect on them and difference of these posters, will be known. We hold that who send message of these cultural posters, combine signifiers of their iconic text cleverly in order to be postponed the time of understanding of their message, because this understanding obtained with decoding of this sign systems through semiology. Posters that selected in this article, comes from in Tehran posters early at 1380s and are discourses that their signifiers in addition to their special signification, signifies in other sign systems. This article pays attention to challenge between these sign systems that located in written and iconic text and analyses relation between written and iconic sign systems. This analysis be done on the base the methodology that comes driven from Saussure`s and Peirce`s approach to semiology. In this research framework posters analyzed as pictorial texts that constructed from combination of symbolic, iconic and indexical sign. Signs in Peirce`s semiology will be symbol, icon and index. In iconic signs, the signifier is connected to the signified through the principle of resemblance, in indexical signs, the signifier makes you think of the signified because the two are frequently physically connected in the real world and in symbolic signs the signification is on the base of contract. The finding of this semiotic analysis of Tehran posters early at 1380s shows that the writing would be more prominence beside posters and sometimes has central function in these posters. Actually this characteristic of the period that is studied in this article, is result of a process that starts from 1370s. Application of typography in posters, starts from 1370s, and in 1380s develops. In this period, writing applied as pictorial signs beside posters, without regarding to this fact, that this writings maybe unreadable. Considering to this process in Tehran posters early at 1380s prompt that this writing regarded as iconic signs and system of writing transform to pictorial system and understanding of posters in the framework of semiology postponed. This transformation ma Although this transformation doesn’t remove signification of the written signifiers.
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