自我、意义与符号——析《踩影游戏》中的三种符号文本

发布时间：2018-01-05 06:38

本文关键词：自我、意义与符号——析《踩影游戏》中的三种符号文本　出处：《外国文学研究》2016年01期 　论文类型：期刊论文

【摘要】：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。
[Abstract]:The appearance of the symbol is because the meaning has not been explained, that is, the symbol does not express the existing meaning. As the subject of the meaning bearing, the ego how to play between the symbol and the meaning of this "complacency". The relation of "the fish forget Quan" determines the reader's reception and interpretation of the text. This paper starts with the definitions of self, meaning and symbol in narrative semiotics. Explore the American Indian writer Louisiana Udric's new book, trampling on the Movie. In this story of asking what love is, there are three symbolic texts about love. The narrative form of the three narrative subjects is three kinds of reappearance; The objects involved are the distance between self desire and the other, the form of possession and the identity established by the other. Finally, it extends to the question of the essence of love: that is, love itself is the meaning, and the narrative subjects of the three texts express precisely the lack of love with the symbol of love.
【作者单位】：四川外国语大学英语学院;
【分类号】：I712.074
【正文快照】： 追逐意义,是人的本质之所在。作为承载意义的主体,文化中的自我总是不停地通过符号来表达自我构筑的意义。意义的发送、接收与阐释,决定着自我与他者共在的方式。而符号与意义之间的关系,既是彼此生成,也是彼此抵消的:因为符号的出现,是由于意义没有得到解释,即符号并不表达已

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