台灣閩南創作歌謠文化圖像符號於視覺設計創作之研究

Abstract

摘 要 臺灣著名閩南創作歌謠，如雨夜花、望春風等，對於身處異鄉的台灣人而言，常為心情寄託之所在。而這些事隔超過一甲子的台灣歌謠，頻頻出現於政治場合及隱射成對故鄉思慕之情的代稱，其後有著撼動人心的文化意涵與發展背景，因此台灣閩南創作歌謠中所隱涵豐富的文化符號，成為本研究所欲解析的問題。 本研究以台灣閩南創作歌謠中的四季红、月夜曲、望春風、雨夜花、白牡丹五首歌曲為對象，運用羅蘭巴特（Ro1and Barthes）的符號學理論，元語言(meta-language)、外延意義(denotation)與內含義(connotation)，分析閩南創作歌謠詞意中的社會文化背景，擷取出文化符號，歸納其符碼元素進而探討其所代表的象徵意義與當時掌控社會的意識型態。進而以索緒爾的符號「兩軸論」（系譜軸和毗鄰軸）的方法將圖象作聯想擴展與進階的形色分析與詮釋；歸結出一套由文學性符號轉換成視覺性符號的轉換架構，來進行文化符號擷取與轉換。擷取出來的文化符號共歸納四大類視覺圖象：自然氣候元素、人造器物元素、人類特徵元素、植物圖籐特徵元素，作為歌謠視覺化過程中，可運用的設計元素，進行設計創作。 對於歌謠復興中，五點人心需求與後現代設計圖象反映出的人心思維，其傳達意涵趨於一致，因而創作手法選擇以後現代設計表現手法中，手繪與舊有照片、影像疊紋合成手法，表現出當代歌謠文化再現中，風土懷舊的復古感，雜紋質地為背景更有時空抽換的動態感，傳達對美好家園再現的渴望，以符號學解析出的圖像特徵形式能具體與文化意涵結合，營造情境氛圍。如此一來，創作目便更能吸引後現代人，對傳統歌謠文化的認識，讓這跨越過半世紀的台灣歌謠文化不斷永續傳承。

關鍵字: 符號學、文化符號、視覺傳達設計、台灣閩南創作歌謠文化Abstract The Taiwan famous creative folk songs, such as “wantwenvun”, “wuyewa” express the moods of the Taiwanese who live in the foreign land. Having been spreaded over sixty years in Taiwan, these songs repeatedly appeared in the political situation, embodied metaphors to the mood of missing home town and had cultural denotations and background of touching people's heart. Therefore analyzing the Taiwan creative folk song possessing the rich culture semiology becomes the important parts in this research. The research adopts the theory of Roland Barthes semiology, meta-language, denotation, and connotation to analyze the five folk songs: “sigehunge”,”wujegiue”, “wantwenvun”, “wuyewa” and byemudan .With this observation on the social background, picks the cultural sign and goes deep into conferment meanings in Taiwan society at that time. Then uses the method of Ferdinand de Saussure ”two axes theory” (paradigmatic and symptomatic) to image pictures association and analyzes form and color and induces a transformative construction, which can transform the visual mark by literary mark thus mining semiology. The semiology induces four vision images: natural weather element, artificial artifacts element, mankind's characteristic element, plant diagram cane characteristic element. The extracted cultural symbols can be used as design elements for art work of visualized folk songs. For folk song renew, five demands of the people tend to be consistent with people’s thought of the postmodern design. Thus this study chooses postmodern expression means, handy-painting, image-overlapping fashion and takes old pictures as creative elements for ballad culture reappearance. The background of noisy texture implies the aspiration of reappearance of nice homeland. The characteristics form of icon analyzed by semiotics can accommodate the culture and therefore generates the atmospheres, makes the Taiwan culture of creative folk song that lasted more than half of this century continue to spread.

Key words: Semiology,culture code,visual communication design, the Taiwan creative folk song