从“世界是文本”看俄罗斯后现代主义文学中的世界  

Analyzing the World in Russian Post-modernist Literature Based on Thesis “The World is a Text”

作　　者：郑永旺[1] 

机构地区：[1]黑龙江大学,哈尔滨150080

出　　处：《外语学刊》2014年第5期124-131,共8页Foreign Language Research

基　　金：国家社科基金项目"俄罗斯反乌托邦文学研究"(10BWW013);中俄人文合作协同创新中心重大攻关项目"当代俄罗斯文艺形势与未来发展"(2012ZD004);黑龙江大学博士科研启动资金资助项目"解体后俄罗斯文学中的知识分子形象研究"(201212)的阶段性成果

摘　　要：一般来说,文学中的世界和现实存在着不完全对等关系。但在解构主义者看来,文本和作品的区别很明显,文本是复数的,其意义不确定。这种言说使文本中的世界实际上成为语言的编织物,文学作品中的现实因语言能指的漂移变成一种幻象,这就是"世界是文本"之说的理论依据。德里达等人对世界和文本关系的阐释有助于理解俄罗斯后现代主义文学中诸如"存在的难民"等人物形象。"世界是文本"的命题也是一种后现代创作思维在作品中的折射,表现为"元小说"叙事策略等有别于现实主义创作的范式。Generally speaking, the literary world is not completely similar to the reality. The deconstructionists think that there is a great difference between works and texts, because the meaning of the text is always plural and uncertain. Indeed, the discourse makes the world in literary works seem like a language game. It means the reality in the works becomes a simulacrum because of the floating language signifier. The keys to understanding the image, like refugees of being in Russian post-modernist literature, can be found in Derrida＇s interpretations about the thesis ＂the world is a text＂. The concept ＂the world is a text＂ is reflected by creating thought in Russian post-modernist metafictions. Key words： text; world; Derrida; Russian post-modernist literature

关 键 词：文本 世界 德里达 俄罗斯后现代主义文学 

分 类 号：I106.4[文学—世界文学]