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符号的出现,是由于意义没有得到解释,即符号并不表达已经存在的意义。作为意义承载的主体,自我如何把玩符号与意义之间这种“得意忘象、得鱼忘筌”的关系,决定了读者对文本的接收与阐释。本文根据叙述符号学中,自我、意义与符号的定义出发,探究美国印第安作家路易斯·厄德里克的新作《踩影游戏》。在这个叩问“何谓爱”的故事中,一共卷入了三个关于“爱”的符号文本,其中,三位叙述主体的叙述形式是三种再现体;其指涉的对象分别为自我欲求与他者之间的距离、占有他者的形式以及通过他者确立的身份;并最终延伸到对爱之本质的叩问:即爱本身是意义。三个文本的叙述主体用爱的符号所表达的,恰恰是爱的阙如。
The appearance of the symbol is due to the fact that the meaning is not explained, that is, the symbol does not express the meaning that has existed. As the subject carried by the meaning, how does the self play the relationship between symbolic and meaning such as “forgetfulness and forgetfulness”, which determines the reader’s acceptance and interpretation of the text. Based on the definition of self, meaning and symbol in narrative semiotics, this article explores the new work “Misogating Game” by American Indian writer Luis Erdrich. In this story of “what is love?”, There are a total of three symbolic texts about “love”, of which the narrative forms of the three narratives are three kinds of reappearances; Respectively, the distance between the desires of oneself and the other, the forms of possession of others, and the identities established by others; and ultimately extends to the questioning of the nature of love: that love itself is meaning. The narrative subjects of the three texts are expressed by the symbol of love, precisely the lack of love.