柏拉图的运动逻各斯

E. Pender
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引用次数: 5

摘要

文字和音乐只随时间而动;但只有活着的才会死去。在重压之下,语言变得紧张,破裂,有时甚至断裂,在紧张之下,滑落,消亡,因不精确而腐烂,不会停留在原地,不会静止。t·s·艾略特:《四个四重奏》(《烧毁的诺顿》第五版)诗人赋予文字以声音,因为它们要达到表达的目的。他观察到这种努力中固有的危险:文字可能会断裂,可能变得完全无法理解。这些破碎的单词不能再在固定的语法约束下发挥作用,因此“不会原地不动,不会静止不动”。A.J. Greimas在《结构语义学》中定义了语言的“实体性”模型:如果我们回想一下,传统句法中的功能只不过是词语所扮演的角色——主体是“执行动作的人”,客体是“遭受动作的人”——那么根据这样的概念,命题作为一个整体就变成了一个“人”对待自己的奇观。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Plato's moving Logos
Words move, music moves Only in time; but that which is only living Can only die. Words strain, Crack and sometimes break, under the burden, Under the tension, slip, slide, perish, Decay with imprecision, will not stay in place, Will not stay still. T.S. Eliot, Four quartets (Burnt Norton V) The poet gives voice to the action of words as they reach out to attain expression. He observes the dangers inherent in this effort: words can break, can become simply unintelligible. Such broken words can no longer function within the fixed constraints of grammar and thus ‘will not stay in place, | Will not stay still’. A.J. Greimas in Structural semantics defined an ‘actantial’ model of language: If we recall that functions in traditional syntax are but roles played by words – the subject being ‘the one who performs the action’, the object ‘the one who suffers it’ – then according to such a conception, the proposition as a whole becomes a spectacle to which homo loquens treats himself.
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