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E·M·福斯特的短篇小说“塞壬的故事”是基于前话语阶段(以海洋作为象征)与话语阶段(以大地作为象征)的复杂交错的关系之上的。这种交错可理解为是一种在可呈现、可理解与不可呈现、不可理解之间的交锋。塞壬作为无定点的缺席,通过从非语言界进入象征界、从被作为他者或现实界的文化所压制的领域进入两兄弟的意识领域而得以呈现。塞壬是现实界转喻性的延伸,故事以虚构的形式重构了通过塞壬进入现实界的人物所处的世界。这篇故事似乎也在探寻人是否能完全地脱离自身的文化机制,从而重获前语言阶段的整体感。本文旨在从拉康关于主体、现实界、象征界形成理论所提供的有力观测点切入,探讨小说中大地与海洋的对抗关系。
EM Forster’s short story The Siren’s Story is based on the complex interlacement of the pre-discourse phase (symbolized by the sea) and the discourse phase (symbolized by the earth). This interlacing can be understood as a confrontation between presentable, understandable and non-representable, incomprehensible. As a definitive absence, Siren emerged from the non-verbal world into the world of symbolism and into the areas of consciousness of the two brothers from areas suppressed as cultures of the other or the real world. Siren is an extension of metonymy in the real world, and the story reconstructs the world in which the characters who enter the real world through Sirens fictionally. This story also seems to be exploring whether people can completely break away from their own cultural mechanisms and thus regain the sense of unity of the pre-linguistic stage. The purpose of this paper is to look into Lacan’s powerful observation points provided by the theory of the formation of the subject, the real world and the symbolic world to explore the confrontational relationship between the earth and the ocean in the novel.