戏剧艺术中的书写--浅析德里达对语音逻各斯的解构  

Writing in Dramatic Art--On Derrida’s Deconstruction of Phono Centralism

作　　者：王晶石[1] 庞晓曼 Wang Jingshi;Pang Xiaoman

机构地区：[1]大连理工大学外国语学院,大连116081

出　　处：《外语教育研究》2022年第4期60-66,共7页Foreign Language Education & Research

基　　金：国家社科基金“德里达‘药’的文学哲学研究”(20CWW001)阶段性成果。

摘　　要：作为解构主义的代表,德里达一直致力于解构形而上学的二元对立,尤其是语音与文字的对立,即语音逻各斯。而这一二元对立的形成又可以追溯到柏拉图的摹仿论。德里达则试图借助戏剧中书写的展现来对其进行解构,戏剧作为文学的艺术作品,同样被柏拉图认为是充斥着摹仿性的、再现的美学,在对文学文本进行分析时,德里达适时地引入了马拉美《摹仿》一文中提到的哑剧,以及阿尔托的残酷戏剧来作为“帮手”去解构语音逻各斯,戏剧于德里达的解构来说占据着特殊的位置。As a representative of deconstruction,Derrida has been committed to deconstructing the binary opposition of metaphysics, especially the opposition between speech and writing, that is, phono centralism. The formation of this binary opposition can be traced back to Plato’s mimesis. Derrida tries to deconstruct with the help of the presentation of writing in the drama. As a literary work of art, drama is also regarded by Plato as full of imitative and reproducing aesthetics. When analyzing the literary text, Derrida timely introduces the pantomime mentioned in Mallarme’s text, And Artaud’s cruel drama as a "helper" to deconstruct phono centralism. Drama occupies a special position in Derrida’s deconstruction theory.

关 键 词：语音 文字/书写 戏剧 摹仿 解构 

分 类 号：J805[艺术—戏剧戏曲]