【摘要】：“文本”范疇大約出現(xiàn)在20世紀60年代，是巴特提出用來區(qū)分“文本”與“作品”這兩個不同的范疇。 西方文學文本從上古時代古希臘開始一直到新古典主義，這個階段主要關(guān)注文本是否是對世界的模仿，即文本與世界的關(guān)系；接著從1595年錫德尼發(fā)表的《詩辯》開始，一直到之后的兩百年間，文本實用主義理論逐漸代替了模仿論的位置；1800年，華茲華斯發(fā)表《抒情歌謠集·序言》，標志著文本的表現(xiàn)論開始成熟，，一直持續(xù)了大約三四十年，主要關(guān)注的是作品與作者之間的關(guān)系；20世紀西方文本理論有兩種形態(tài)，一種是立足于語言學模式下的文本內(nèi)分析。俄國形式主義為了反對當時占主導地位的形象中心論和象征主義文論，立足于文本，提出了“陌生化”理論。英美新批評提出了文本“細讀”的研究方法，并且列舉出了很多具體的文本分析操作模式。而結(jié)構(gòu)主義則利用結(jié)構(gòu)主義語言學的成果分析文學文本，特別是在詩歌結(jié)構(gòu)和小說敘述學方面有很豐富的理論成就，也在理論界產(chǎn)生了很大的影響。但是這三種理論流派都是研究封閉的文本其意義如何生成，遭到了后起學派的質(zhì)疑和批判。 第二種是解釋學模式，認為文本的意義的生成是不確定性的，雖然語言結(jié)構(gòu)固定不變，但它的意義卻無限多樣。解構(gòu)主義的巴特認為文本就是不斷編織的結(jié)果，讀者對于文本的理解就是重寫文本�？死锼固赝尢岢隽嘶ノ男�，文本有現(xiàn)象文本與生成文本之分，前者是靜態(tài)的物品，后者卻是現(xiàn)象背后的深層結(jié)構(gòu)，具有生產(chǎn)意義的功能，文本意義處于不斷生成的過程當中。德里達認為文本是漂浮的能指，其意義產(chǎn)生于字詞空間上的差異與時間上的無限延宕中，我們只能尋到意義的蹤跡，卻不能找到確定的意義。德曼則強調(diào)文本具有修辭性，文學藝術(shù)是一種修辭表達，文本分析硬立足作品，從多個角度分析其修辭手段，挖掘其無限多樣的意義。所以說整個西方文學文本大致經(jīng)歷了從作品到文本、從自在到建構(gòu)的兩次轉(zhuǎn)變。
[Abstract]:The category of "text", which appeared in the 1960's, was put forward by Bart to distinguish the two different categories of "text" and "works". Western literary texts from ancient Greece to Neo-classicism, this stage mainly focused on whether the text is the imitation of the world, that is, the relationship between the text and the world. Over the next two hundred years, textual pragmatism gradually took the place of imitation. In 1800, Wordsworth published the preface to the Collection of Lyric songs, which marked the beginning of maturity of the text's theory of expression, which lasted for about 30 to 40 years. The main concern is the relationship between the works and the author. There are two forms of the western text theory in the 20th century, one is the intra-text analysis based on the linguistic model. Russian formalism put forward the theory of "defamiliarization" in order to oppose the dominant image-centered theory and symbolism literary theory. Anglo-American New criticism puts forward the research method of "close reading" of text, and enumerates a lot of concrete operation modes of text analysis. Structuralism, on the other hand, makes use of the achievements of structuralist linguistics to analyze literary texts, especially in the aspects of poetic structure and novel narratology. But these three schools of theory are all studying the meaning of closed text, which has been questioned and criticized by the later school of thought. The second model is hermeneutics, which holds that the meaning of the text is uncertain. Although the language structure is fixed, the meaning of the text is infinitely diverse. The deconstructionist Bart thinks that the text is the result of continuous weaving, and the reader's understanding of the text is to rewrite the text. Kristeva put forward intertextuality, the text is divided into phenomenal text and generated text. The former is a static object, but the latter is the deep structure behind the phenomenon, which has the function of producing meaning, and the meaning of the text is in the process of continuous generation. Derrida thinks that text is a floating signifier, and its meaning comes from the difference in word space and the infinite delay in time. We can only find the trace of meaning, but we can not find the definite meaning. Derman emphasizes that the text is rhetorical and literary art is a rhetorical expression. Text analysis is based on the works and analyzes its rhetorical devices from many angles and excavates its infinite and diverse meanings. Therefore, the whole western literary texts have undergone two changes from works to texts, from freedom to construction.
【學位授予單位】：溫州大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：I0

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相關(guān)期刊論文 前2條

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