论文部分内容阅读
乔伊斯的艺术最显著的特征就是其不可读性,这种不可读性在《芬尼根守灵》中得到了淋漓尽致的体现。如何解释这种不可读性,如何解释乔伊斯的书写,这是乔伊斯研究中最引人注目的议题。拉康认为,乔伊斯的不可读性源于其父亲—的—名字在其心理结构中一开始就被排斥了。由于父亲—的—名字被排斥,乔伊斯的话语失去了正常话语必不可少的菲勒斯向度,从而使象征的能指崩溃为实在的文字。此外,乔伊斯的书写不是为了追寻意义,而是始终为快感所控制,是对“强加的词语”的记录和抛弃。尽管如此,他的书写仍然是他为了弥补父亲—的—名字之被排斥所做的努力,也就是说,他努力通过书写将其解体的心理结构重新扭结起来。从这个意义上说,书写就是乔伊斯的症状。
The most prominent feature of Joyce’s art is its unreadability, which is unreadable in the “Finnigan Spirit”. How to explain this unreadability and how to explain Joyce’s writing are the most striking issues in Joyce’s research. Lacan believes Joyce’s unreadability stems from the fact that his father’s - name is excluded from the very beginning in his mental structure. Due to the exclusion of his father’s name, Joyce’s speech loses the Phillipsian dimension, which is indispensable to the normal discourse, so that the signifier of the symbol collapses into the actual writing. In addition, Joyce’s writing is not for the sake of seeking meaning, but is always controlled by pleasure and is the recording and abandonment of “imposing words.” Nevertheless, his writing remained the effort he had made to compensate for his father’s - the exclusion of his name, that is, he tried to regain the mental structure of his disintegration through writing. In this sense, writing is Joyce’s symptoms.