俄罗斯文艺

纳博科夫的《洛丽塔》是举世公认的文学经典,可以被不断阐释并伴随时代变迁获得新意义。究其原因,这源于它强大的意义再生机制。艾布拉姆斯认为,文艺批评要兼顾四个坐标,即世界、文本、艺术家和欣赏者。如果从洛特曼的符号学理论审视这四个坐标,文学作品意义的再生机制就可以被揭示出来。从符号学理论来看,世界是不断运动的符号系统,为意义生成提供了某种约定俗成的先决条件,并对文本、艺术家及欣赏者产生复杂的影响;文本是相对独立的符号系统,具有生成意义的功能,它的不匀质性让多种阐释成为可能,涉及的话题也是具有普遍人文关切的问题,会引发来自不同符号系统的读者对其进行解读,增加了多种阐释的可能性;经典作品的创作者与欣赏者来自不同的时空,受不同符号系统的影响,对相同符号进行解码必然会得出多样性的结果。世界、文本、艺术家与欣赏者是解读文学作品不可忽视的几个要素,而符号学视角可以凸显这四个坐标在文本意义再生机制中发挥的重要作用。

Nabokov's novel Lolita is generally acclaimed as a literary masterpiece which, though composed decades ago, can not only interpreted repeatedly but also obtain new meanings when interpreted in different eras. The reason lies in the fact that the novel has a strong regeneration mechanism in textual meanings. In M. H. Abrams' opinion, literary criticism should take four elements into accounts, namely, the universe, the work, the artist and the audiences. The regeneration mechanism of Lolita can be clearly revealed if the four elements are studied from the perspective of Yuri Lotman's semiotic theory. Semiotics takes the universe as a comprehensive system of signs which consists of numerous sub-systems of signs and poses a precondition for different interpretations. Moreover, the universe has great effect on both the artist and audience; the work is a relatively isolated system of signs which can generate different interpretation in that it bears the heterogeneity of semiosphere and touches many topics on human fate and nature in general which can arouse readers' deep concern. The artist and the audience are shaped both in mind and logics under certain systems of signs and thus having various interpretation towards the same literary work. The study concludes that the universe, the work, the artist and the audience are indispensable elements when interpreting a literary work is interpreted and the semiotic perspective helps reveals the importance of the four elements.