修辞作为解构活动面对电影诠释学,精神分析学是支持在我们的符号学讨论末尾已经提出的课题的。在那里我们发现,内涵如果不是一般语言的天生条件,至少是艺术语言而且无疑也是象电影这样的影象话语的天生条件。精神分析学使阐释优先于甚至更是一门显学的结构分析,因为阐释的符号概念的确是根本性的。虽然内涵使索绪尔关于符号乃是能对其所指的不变关系的最初的朴素描述大大复杂化。罗兰·巴尔特和其他批评家对他们的信念仍持乐观态度,认为只要运用得当,抉微剔隐的词源学方法、修辞分析等等,会使每个符号的冲击力,不论搞得多么复杂,最终都能一清二楚。精神分析通过把能指与所指的关系永远切断而使这一希望破灭。当然,符号的确包含着无意识的所指,但这种包容性是依靠某种精神分析所不具备的逻辑保持下去的。它恰好需要一种“精神分析”清理出即便不是意义、至少也是任何象艺 Rhetoric, as deconstruction in the face of cinematic hermeneutics, supports the topics that have been proposed at the end of our semiotics discussion. Where we find that if the connotation is not the innate condition of the ordinary language, at least the artistic language is undoubtedly the natural condition of the image discourse such as movie. Psychoanalysis prioritizes interpretation over an even more revealing structural analysis, since the notion of symbolic interpretation is indeed fundamental. Although the connotation makes Saussure’s first naive description of the symbol as a constant relation to what it means, it greatly complicates. Roland Barthes and other critics are still optimistic about their beliefs and believe that as long as they are properly applied, etymological methods, rhetorical analysis, etc., will make the impact of each symbol, no matter how made Complex, eventually can be crystal clear. Psychoanalysis shatters this hope by permanently cutting off the relationship between the signifier and the signified. Of course, the sign does contain unconscious references, but this inclusiveness rests on the logic that some psychoanalysis does not have. It happens to need a “psychoanalysis” to clean out, if not meaningless, at least any artwork