惩罚图像的语言再现——《檀香刑》新论  

The Linguistic Representation of Punishment Image:A New Look at Sandalwood Death

作　　者：赵敬鹏[1] ZHAO Jingpeng(School of Liberal Arts, Jiangsu Second Normal University, Nanjing, Jiangsu 210013)

机构地区：[1]江苏第二师范学院文学院,江苏南京210013

出　　处：《中国文学研究》2017年第2期20-23,共4页Research of Chinese Literature

基　　金：江苏省社科基金青年项目"<水浒传>小说成像研究"(15ZWC002);江苏高校哲学社会科学研究项目"文学成像及其语图符号学方法研究"(2016SJD750006);国家社科基金重点项目"文学图像论"(12AZW005)的阶段性研究成果

摘　　要：《檀香刑》并不止于"展示"酷刑,而是通过展示达到对酷刑的批判。就酷刑展示的实质而言,这是"惩罚"图像对"罪行"的隐喻。进一步分析表明,惩罚图像生成于执刑表演的过程,但执刑表演还包括伴随惩罚图像的"声音"。声音与图像的理想关系是"唱和",即前者体现出后者的"惩戒"效果与"审美"效果;然而在"檀香刑"的执刑中,声音与图像之间却是一种"解构"关系,孙丙及其猫腔最终解构了檀香刑图像的隐喻意义。In the perspective of Mo Yan, he wants to repudiate the excruciation by showing the novel. As for the essence of showing excruciation, this is the image metaphors of ＂crime＂. Further analysis reveals that the punishment image generated in the course of execution performance, however, the execution performance also includes the ＂sound＂ which follows the image of punishment. Generally speaking, the perfect relationship between the sound and image is ＂echo each other＂, namely, the sound reflects ＂disci- plinary effect＂ and ＂aesthetic effect＂ of the image. But the relationship between sound and image in the ＂sandalwood death＂ is ＂de- constructive＂, because that Sun Bing and his ＂Mao Qiang＂ deconstructing the metaphorical meaning of sandalwood death.

关 键 词：《檀香刑》 惩罚 图像 语言 

分 类 号：I0[文学—文学理论]