摘要
自传统结构主义至现代符号学,文本的观念发生了重大的变化:从封闭走向开放;从结构走向功能;从单一的文本单位走向注重联系的艺术本文。俄罗斯符号学家尤里.洛特曼将文本视为一种功能,即艺术本文符号意义的生成机制,从而实现了结构主义符号学的系统观与非结构主义的开放观的结合以及对传统封闭、静态的文本观的超越。本文正是借助这一理论视角,将美国著名小说家、批评家苏珊.桑塔格的小说处女作《恩主》及其第一部批评文集《反对阐释》置于艺术符号互动的互文空间,展示了桑塔格艺术自省地通过对本文《恩主》中最重要的符号内容——梦境——的创造,及其建构本文符号空间的机制方式,互文传达了其《反对阐释》中的美学诉求与文艺理想。本文率先指出,符号互动的艺术本文观,其实是桑塔格早期创作与批评双栖发展的自觉与自省;另一方面,本文也是对于洛特曼文化符号学艺术本文观的为数不多的文学批评实践。
In the progress of traditional Constructivism to Modern Semiotics,the concept of ＂text＂ has been dramatically changed：from obturation to openness;from the constructional stand to the functional one;from single textual units to contacted artistic texts.Russian Semiologist Jury Lotman holds a functional view of artistic texts,which stresses the symbolic meaning mechanism,thus accomplishing both the combination of systematic Constructal Semiotics and open non-structural Semiotics and the transcendency over traditional obdurate and static texts.Taking advantage of this theoretical stand and intertextually interpreting American essayist and fiction-writer Susan Sontag＇s first novel The Benefactor and her first essay collection Against Interpretation,this paper demonstrates that Sontag intertextually conveys her aesthetic appeal and her literary belief in Against Interpretation by her conscious creations of dreams as the most important symbols and the mechanism of textual symbolization in The Benefactor.What＇s more,on one hand,this paper initially states that Sontag consciously applies this symbolic interactional text view both in her early literary creation and her critical activities;on the other,it can also be regarded as one of the few outcomes of critical practices of Lotman＇s concept of artistic text in his Cultural-Semiotics thoughts.
出处
《俄罗斯文艺》
CSSCI
北大核心
2011年第4期83-88,共6页
Russian Literature & Arts
基金
2011年江苏省社科基金项目资助课题<苏珊.桑塔格与诺斯替主义研究>(项目号11wwc010)
江苏省2011年普通高校研究生科研创新计划资助项目<苏珊.桑塔格小说艺术构造"魔力"探索-"神"
"智"之间艺术"追求"的散点透视>(cxzz11-0862)的阶段性成果
