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作为后现代反侦探小说的经典之作,《纽约三部曲》在不断提出问题、构造迷宫的同时,用一根中心线贯穿三个故事。“我”是谁?困扰着无数哲学家的难题将在角色反复“挣扎”的过程中得到确证。本文通过揭示迷宫的三层结构,结合结构主义后现代哲学家拉康的镜像理论及症象的理论思想,解读故事结局暗含的真理:人存在的真实即使只是症候与幻想的重合也不必绝望。这正是文本中人物挣扎探索的积极意义所在,同时也是开启这一座自我思维迷宫的钥匙。
As a classic of postmodern anti-detective fiction, the New York Trilogy constantly uses questions and constructs a maze. At the same time, it runs through three stories with a central line. Who is “I”? The puzzles that plague innumerable philosophers will be corroborated by repeated “struggles” of the characters. By revealing the three-layer structure of the maze and combining with the mirror image theory and the theory of the phenomenon of postmodernist philosopher LaChan, this article interprets the truth implied in the ending of the story: the reality of human existence does not have to be despair, even if only the coincidence of symptoms and illusions. This is exactly the positive meaning of the struggles in the texts and the key to opening this maze of self-thinking.