Uz Binns Base Structure Of Poetic Theory Study

Boris Andreyevich Uspensky (Бopоис AHдpeeBич YcneHCкий,1937-), is a famous Russian linguist, semiotician and literary theorist, one of the important founders of the Tartu-Moscow school of semiotics. His extensive research interests involve multiple areas of linguistics, Slavonic learning, theories of literature and art, history of cultures and semiotics, etc. Uspensky’s "Structural Poetics", which embodies his structural poetics theoretical thinking, is a significant practice of the semiotic study on the art theories, and the highlight of his important academic achievements during the period of his Tartu-Moscow semiotic research.In this work, based on the language of literary and artistic text, Uspensky took a multi-dimensional look at the structure of artistic text through the unique research perspective "viewpoint"; meanwhile, by concrete analysis of viewpoint structure, he discussed the original relationship between the formation of the artistic text messages and the viewpoint structure, thus finally completed formal model construction of "artistic language". This paper is intended to make a relatively profound and closer exploration and research on Uspensky’s structural poetics theory itself. We’ve found in research that the theoretical basis of his academic thinking is polybasic; however, its foundation is Saussure’s structuralist linguistic semiotic thoughts. Uspensky has extended the ideas of Russian Formalism, inherited Hjelmslev’s glossematic thoughts of the Copenhagen school, and absorbed Peirce’s and Morris’s semiotic ideas of logical pragmatic philosophy and the social semiotic thoughts of the Bakhtin school. Uspensky’s structural poetics theory has obviously critical inheritance, through the "viewpoint", a perspective carrying social characteristics, integrating form study and content research of the artistic text, he has pointed out the different types of viewpoints in the artistic text structure, and their respective internal semantic directions, as well as the interrelationship between viewpoints of different levels, and has revealed the dynamic characteristics of the meaning generating system of artistic text structure, also has dealt with interrelationship among the text viewpoint structure, the descriptive object and the readers (sign-interpreter), thus changed the former closed and static artistic text structure analysis. This paper, using the quite practical "viewpoint" theory, is intended to explore the unsuperfluousness of the "superfluous man" Pechorin in Lermontov’s novel "A Hero of Our Time", thus to reveal the unique poetic structure of "A Hero of Our Time" and its complicated, profound inner survival mechanism of ideological content.However, there inevitably exist inherent limitations in any theory. We deem that Uspensky’s structural poetics theory has not really explored the artistic text structure from the perspective of reader acceptance, in order to create a dynamic and open historical conception of artistic text structure. His structural poetics theory is more concerned with synchronic study on viewpoint structure, while ignoring the influence from time changing on reader acceptance and the reader’s role in diachronic structural construction. By the analysis on creation narration and space-time viewpoint of reader acceptance of Pushkin’s two masterpieces "Ruslan and Ludmila" and "Evgenii Onegin", it can be said that the nature of viewpoint structure lies in diachronic and dynamic reader acceptance. Compared with Chinese traditional poetics, Uspensky’s structural poetic theory, obviously influenced by Western scientific way of thinking and focusing on text, does not pay adequate attention to the subjectivity of artistic creation and aesthetic experience, however, his methodological innovative ideas and scientific research spirit in poetic theory study are definitely worth learning.