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“图形—背景”理论关注图形和背景之间的互构关系以及读者对文本的动态把握。受皮亚杰对人类图形认知思考的启发,本文以图形与背景混合、主次图形共存、背景并置三种模式解读《曼斯菲尔德庄园》,发现该理论在文学批评实践中不仅能帮助读者挖掘作品新的涵义和美感,而且还能以不同解读模式的冲突与共存制造“解释漩涡”。解构主义视阈下的“图形一背景”模式张扬自由与活力,强调多元化差异,为传统经典文学注入现代化生命力。
“Graphics - Background ” theory focuses on the relationship between the graphic and the background and the reader’s grasp of the dynamic text. Inspired by Piaget’s cognition of human graphics, this paper interprets the Mansfield Manor with three modes of mixed graphics and background, coexistence of primary and secondary graphics, and background juxtaposition, and finds that the theory can not only help in the practice of literary criticism Readers tap the new meaning and aesthetics of their works, but also create ’swirls of interpretation’ in the conflict and coexistence of different modes of interpretation. From the perspective of deconstructionism, the “graphic - background” model reveals freedom and vitality, emphasizes the diversity of diversity and injects modern vitality into traditional classics.