从20世纪初索绪尔和皮尔斯符号学开始，符号学经过一个多世纪的发展，已成为一门具有完备体系的学科，也因富有逻辑性而被称为人文学科中的数学。本书是建立在“图像转向”和“媒介景观”两个时代背景下的“后语言学符号学”，以“图像性iconicity”为立论基础及核心线索，系统性地讨论语言、文学、艺术中的像似性问题，以及它们在当今新媒介语境中的呈现；旨在为当今传媒文化景观提供系统化阐述，进而形成一门“图像符号学”。作为对图像符号学理论的研究，本书有两个明显特点：一是指向“媒介景观”的意义阐释；二是，也是更重要的特点，本书引入中国古典文化中的符号思想遗产，这部分内容或许可以为中国之外的学者提供一个理解中国文化思维的途径。
本书可为符号学、传播学研究者提供参考，也可供对中华传统文化符号思想感兴趣的读者阅读。

胡易容，传播符号学博士，战略传播方向博士后出站，教授。四川大学符号学-传媒学研究所特聘研究员，桂林电子科技大学广西区政府数字传播与文化软实力社科重点基地常务副主任，清华大学国家形象传播研究中心特聘专家。中国文化传播符号学会学术委员会秘书长，中国语言符号学会常务理事，国际符号学会会员。主要研究传播符号学，从事品牌战略工作多年。著有《图像符号学：传媒景观世界的图式把握》、《传媒符号学》，编著《符号学-传媒学词典》。

Chapter 1 Introduction: From Image to Spectacle
1.1 The Image Age and Theories of the Image
1.2 Semiotics as the Methodology to Master Media Spectacles
1.3 Main Areas of Iconicity
1.3.1 The Importance of Iconicity (像似性, xiangsixing)
1.3.2 Iconicity in Linguistics
1.3.3 Verbal Icons in Literature and General Images in Contemporary Media
1.4 Research Scope and Development
Chapter 2 Sign and Image
2.1 Sign and the Pedigreeof Image
2.1.1 Sign
2.1.2 Image
2.1.3 Motivation
2.2 Image as an Icon
2.2.1 An Icon Not Necessarily an Image
2.2.2 Degree of Iconicity
Chapter 3 Transparent Languages
3.1 Terms and Concepts
3.1.1 The Semiotic Logic of the Word Sources of象,像, and 相
3.1.2 Word Formation and Terminology Generation
3.1.3 Major Discussions of Linguistic Iconicity
3.2 A Universal Language
3.2.1 Symbolic Evolution
3.2.2 The Utopia of Language
3.2.3 Language Differentiation
3.2.4 Perfect Signs
Chapter 4 Verbal Icon
4.1 A General Introduction to Verbal Icon
4.1.1 Descriptive Verbal Icon
4.1.2 Metaphor and Symbolic Verbal Icon
4.2 From Verbal Icon to Fuxiang
4.2.1 The Tradition and Meaning Evolution of Fuxiang
4.2.2 Cross-media Rhetoric
4.3 Cross-Media and Image Narrative
4.3.1 Dilatation of Narratology
4.3.2 Image and Minimal Narrative
Chapter 5 Art Images
5.1 The Dimension of Humanities
5.1.1 Panofsky and Cassirer
5.1.2 Text of Art Sign
5.2 Perspective and the Code of Proportions
5.2.1 “Perspective” as a Code: Self-contained Codability of Decoding
5.2.2 Coordination of Perspective Code
5.2.3 Artistic Representation and Transcendence of Perspective
5.3 The Evolution of Art
5.3.1 Semiotic Attributes of Artistic Images
5.3.2 From Imitation to Representation
5.3.3 Representation and Expression
5.3.4 Artistic Consciousness
Chapter 6 Simulacrum
6.1 Image and the Self
6.1.1 The Development of Image Theory
6.1.2 Reflexive Image
6.2 Simulation
6.2.1 “Pseudo-environment” and Semiotic “Authenticity”
6.2.2 The Truth of Advertising, Journalism and Literature
Chapter 7 The Cultural Spectacle
7.1 The Articulate World
7.1.1 Platonic Representation
7.1.2 The Four Natures
7.1.3 The Discipline to Which the Image World Belongs
7.2 Thinking in Sign in Chinese Culture
7.2.1 Xiang (象): The Imitation of the Universe in Ancient China
7.2.2 Yixiang (意象): The Image Evolution of the Chinese Cultural System
7.2.3 Chinese Aesthetic Pursuit Derived from Yixiang
Notes
References
Part I: English References
Part II: Translated References (Chinese Editon)
Part III: Chinese References
Postscript