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。
The absence of meaning necessitates the existence of signs; as the source of meaning, the self determines textual interpretation in the sense that it manipulates the relationship between sign and meaning. Based on a semiotic narratological approach, this paper explores the essence of "love" in Louis Edrich's latest work Shadow Tag through analysis of the representation, object and intrepretant of the tree semiotic texts, and reaches the conclusion that love itself is meaning, and, therefore, goes against the semiotization of the three narrative selves.
出处
《外国文学研究》
CSSCI
北大核心
2016年第1期51-59,共9页
Foreign Literature Studies
关键词
符号
意义
自我
文本
sign
meaning
the self
text