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艾柯认为,至为全面的一般符号学大纲应该包括符号的“谎言”理论,否则符号无法用以阐明真理,并在此基础上将符号学研究推衍至整个文化符号系统。文化符号学就是文化符号在何种语义场中如何发挥其意指与交流作用。文化单元作为表意符号,本身具有多义性、不确定性和悖谬性。文学表达科学理性同时也表达神圣信仰。在小说《玫瑰的名字》中,艾柯的符号学论点随处可见,尤其是符号本身包含的悖谬性,这可以说是其符号学理论在文学领域里的延伸和运用;那些涉及符号衍义的推断,成为符号悖谬的绝妙注释。在后现代文化语境下解读小说,可以看出文本中的理性推理与神圣信仰之间或隐或显地存在着难以弥合的符号悖论,主要体现在:1)文本中的玫瑰之“名”违逆常态的诗性传统和读者的阅读期待;2)符号编码与意指关系错位。文化单元编码在意指过程中滑落最初的意义,走向悖谬与谎言;3)在试图建构符号意义的过程中,文化单元的核心意义被瓦解,理性、信仰及语言崇拜三重符号遭到颠覆。在此意义上,《玫瑰的名字》的写就便成为艾柯文学符号观的冗长脚注与符号理论的生动实践。
Eco believes that an all-encompassing general symbology should include the symbolic “lie” theory, otherwise symbols can not be used to clarify the truth, and based on this, the semiotic research has been extended to the entire system of cultural symbols. Cultural semiotics is the meaning and communication of cultural symbols in the semantic field. As a symbol, cultural unit itself has ambiguity, uncertainty and absurdity. Literature expresses scientific rationality as well as divine faith. In his novel The Names of Roses, Aykow’s semiotics can be seen everywhere, especially the absurdity contained in the symbols themselves, which can be described as the extension and use of semiotics in the field of literature. Inferring, as a wonderful symbol of symbolic absurd. Interpreting novels in the context of postmodern culture shows that there is an unavoidable symbolic paradox between reasoning and divine faith in texts, mainly as follows: 1) the name of the rose in the text “Disregard the normal poetic tradition and reader’s reading expectation; 2) The relationship between symbolic coding and meaning misplaced. Cultural unit coding means that the process of slipped down to the original meaning, toward the absurdity and lies; 3) In trying to construct the symbolic meaning, the core of the unit of culture is disintegrated, rationalism, belief and language worship triplex subversion. In this sense, the writing of ”the name of the rose" becomes a vivid practice of the lengthy footnotes and symbolic theories of Eau ’s literary notation.