论文部分内容阅读
《边城》中王团总家的小姐的“碾房陪嫁”,始终是笼罩在翠翠身边和翠翠与二老的爱情中的一个阴影。从文化意象的角度分析,在“翠翠─碾房─王小姐”的关系中,对于翠翠所代表的湘西苗族文化传统而言,它代表着唯实唯利的西方资产阶级价值观的侵入;在“二老─碾房─王小姐”的关系中,它又是个封闭、循环的意象,将水的线性流动转换成石碾的周期循环,可以看作是汉族文化的象征;而在“二老─碾房─渡船”的关系中,“渡船”是苗族文化特殊性的象征,“碾房”则是汉族文化和西方文化的普遍性的象征。
“Border Town” in the total Miss Wang’s “house crush married” has always been enveloped in the green and Tsui Tsui Tsui Tsui Tsui Tsui and old love one of the shadows. From the perspective of cultural images, in the relationship between “Cui Cui - Rice Mill - Miss Wang”, for the cultural tradition of Xiangxi Miao represented by Cui Cui, it represents the invasion of the only mercenary Western values of the bourgeoisie; In the relationship of “Lao Lao-Lao Fang-Wang Wang,” it is a closed and cyclic image that transforms the linear flow of water into a periodic cycle of stone grind, which can be seen as a symbol of the Han culture. Ferry “is the symbol of the special nature of Miao culture, while” grind "is a symbol of the universality of Han culture and Western culture.