求大神给一篇关于犹太民族精神的外文文献

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英文题名The Semiotic Square as a Structural Pattern in Singer’s Novels

作者中文名 毕青上学吧论文查重官方微信

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学位授予 南京师范大学

学科专业 英语语言文学

学位年度 2002年

论文级别 硕士论文

以A.J.格雷马斯为代表的巴黎符号学学派是现代西方符号学研究的代表，他们提出“符号学就是意指系统的一种等级分析学说”。这一定义表明现代符号学研究忽略语言符号本身，而主要采用结构主义研究方法，把整个符号系统作为研究的对象，强调符号系统的意指方式和过程。格雷马斯提出的“符号矩阵”理论就是以叙事文本的内在结构为研究对象，探究整个象征符号系统的意义。这一理论是对亚里士多德逻辑学中命题与反命题理论的进一步发展和扩充。格雷马斯认为，文学文本的模式源于符号(假设为A)与反A之间的对立，随着故事情节的发展，文本中出现新的因素，即与A矛盾但并不一定对立的符号非A，以及与反A相对立的符号非反A。当这些因素都得以展开，在不同的层面发生联系，并按一定的方向发展，故事便走向结束。这些象征性符号整体上建构成文本的符号矩阵模式，它是一个内在的机制，位于深层结构，是一切意义的载体，与特定的文化或意识形态内涵相联系。 本文以格雷马斯的理论为基础，以辛格具有代表性的关注犹太个体、家庭和家族命运的三部小说的结构为研究对象，分析小说中主要人物及情节线索的符号象征意义，以及这些符号之间形成的不同类型的关系，从而试图说明辛格小说在总体上呈现出符号矩阵的结构模式。通过这个符号矩阵模式，我们可以对文本的意义寻找一种“内在”的界定，达到对作品本身的内在统一性与连贯性的把握，更深层次地剖析辛格笔下人物回归传统的必然性，从而进一步印证其小说中“背弃—回归”的主题模式。 本文认为结构模式化是辛格小说创作的一个总体特征，这种从传统与反传统的对立展开情节，通过矛盾斗争走向非反传统(即肯定传统)的矩阵结构模式蕴含了辛格对犹太民族文化现实的思考，对其前途的求索和期望。这种模式化的矩阵结构反映了作者对民族传统的态度：只有恪守犹太身份，肯定犹太历史，在犹太传统自律、博爱的道德信条之中才能找到内心的平静和真正意义上的自由，所以只有“回归”才是犹太人摆脱困扰，走出尴尬境地的唯一出路。犹太传统是慰藉每个犹太人灵魂的理想家园，充满魅力的犹太精神永远是挽救民族走向分崩离析的一剂良药。

From the linguistic and logical point of view, semiotics represented by Ferdinand de Saussure and Charles Peirce is usually defined as the study of signs. With the development of the study, modem semiotics has in fact bee the study of the system of signs, which enables human beings to perceive certain events or entities as a whole sign, bearing meaning. It has an interface with literature and serves as a method for literary interpretation. Under the semiotic interpretation, a literary text is not simply a set of words but a network of certain systems of munication. The study has further interrelated with French structuralist narratology. Algirdas Julien Greimas, a French semiotician, makes an organic bination across the two fields. He is concerned with establishing elementary structures of meaning with a semiotic micro-universe.Greimas’ semiotic theory seeks to account for the articulation and the narration of the semantic universe as a totality of meaning. The object of semiotics, to Greimas, is the process of transformation, which is the production of meaning. The system of different levels of structures to Greimas is $apos;$a hierarchy that can be subjected to analysis and the elements of which can be determined by relations or by munication$apos;$ (Greimas Studies 1990). He adopts semiological method in his structuralistnarratology and puts forward the theory of the semiotic square. The semiotic square defines the elementary items of a discourse: an idea (A) and its contrary (B). According to Greimas, a literary text begins with the contradiction between (A) and (B), and with the development of the process merge new items such as (C) and (D). (C) is the negation of (A) and (D) is the contrary of (B). With the munication of the four items, the discourse draws to an end. The semiotic square theory defines relationships between the four items involved, but not simply their respective meanings.From the perspective of semiotic criticism and structuralism, many of I.B.Singer’s novels may be read as semiotic universes in structure. Singer is a master storywriter. His narrative strategy requires the presentation of facts and experiences without mentary and external explanations. The main characters and plots in his works are well-arranged signs to convey his thoughts and ideas, which in whole construct different semiotic square forms.This thesis tends to apply the semiotic square theory to analyze Singer’s three representative novels: The Magician of Lublin, The Manor and The Family Moskat. Through the analysis, we discover that the structures of many of Singer’s novels are amenable to the semiotic square pattern.Propp once said, $apos;$An action cannot be defined apart from its place in the course of narration. The meaning which a giving function has in the course of action must be considered$apos;$ (Fokkema, 62). Through the structural pattern, we extract the cultural and ideological meaning of Singer’s novels. We understand that in the semiotic square sign B (anti-Jewishness) stands for the Gentile world and sign C represents different kinds of Jews facing the secular world. They bee repentant sinners at last. Through the semiotic square, Singer conveys the notion that only by trudging a long way can a Jew or the whole Jewish people e to their way toward conversion to traditional identity, morality and Judaism (i.e.C-D in the semiotic square). When we interpret a text as a plete elementary structure, we shall consider, according to Greimas, $apos;$the concept that hints the minimal condition for the production of signification$apos;$ (Fokkema, 65). Therefore, the structural pattern not only proves Singer’s current theme from betray to redemption from the viewpoint of the structuralist semotics, but also further lays bare Singer’s solid stand on Jewish tradition.