非裔美国文学批评研究——小亨利·路易斯·盖茨的喻指理论评析  

A Study of Afro-American Literary Criticism Based on Henry Louis Gates, Jr.' s Theory of Signification

作　　者：水彩琴[1] 

机构地区：[1]西北民族大学外国语学院,甘肃兰州730030

出　　处：《天津外国语大学学报》2014年第2期74-80,共7页Journal of Tianjin Foreign Studies University

基　　金：中央高校基本科研业务费专项资金项目(zyz2012004)

摘　　要：盖茨在考察泛非洲文化阐释体系的基础上,通过吸收和借鉴索绪尔符号学的分析模式和巴赫金狂欢化诗学的理论成果,融合杜波依斯的双重意识概念,创立了喻指理论。喻指理论立足黑人阐释学和黑人土语的修辞策略,以研究非裔美国文学中存在的隐喻修正、言说者文本、说话文本和重写言说者文本等四种双声文本关系为核心,发掘后辈文本对前辈文本的差异性重复和修正,将语言分析与文化考古相结合,揭示出非裔美国文学自身的双声性和互文性特征,对黑人文学缺乏原创性的论调给予了理论回击,颠覆了非裔美国文学批评中白人批评理论的霸权地位,开辟了关注语言能指和文本关系的黑人文学批评新思路。On the basis of the Pan-African cultural system of interpretation, Henry Louis Gates, Jr. creates his theory of Signification through absorbing Saussure＇s semiotics and Bakhtin＇s carnival poetics and merging with Du-Bois＇ concept of double consciousness. Gates＇ theory, grounded firmly in the black hermeneutics and the rhetorical strategies of black vernacular, centers on the discussion of four sorts of double-voiced textual relations, i.e. tropological revision, the speakerly text, talking texts and rewriting the speakerly. With a combination of language research and cultural study, the theory explores the difference between the present text and the repeated/ revised text to reveal the double-voicedness and intertextuality in Afro-American literature. Signification hits back at the argument that Afro-American literature lacks originality, and thus breaks the predominance of the white critical theories in the black literary criticism and offers a new way of exploring the signifiers and textual relations in Afro-American literary criticism.

关 键 词：喻指 非裔美国文学 双声文本关系 互文性 

分 类 号：I712.06[文学—其他各国文学]