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论文名称: 霍桑的“红字”：一本延异的小说
关键词:
延异 différance
书写 writing
作者已死 the death of author
德希达 Derrida
意符 signifier
意指 signified
空缺 void
[摘要]
霍桑的红字无疑地被认为是他的最佳杰作因为其中蕴含了被称为是模拟两可或是是而
非令人扼恼的叙述技巧之怪异性。本篇论文的主旨在于以德希达的延异理论详细剖析霍桑
红字的书写策略。根据德希达的理论，当书写起始，意义随即展开一场永无止尽的延迟滞
宕；意符永远在其它意符的引介下寻觅意指。因此，本论文着眼于后结构主义的理论基础
，提出霍桑在书写红字时逐渐丧失对于语言的全然掌控。除了德希达的延异理论之外，罗
兰巴特、拉岗以及克丽丝蒂娃的理论也经援引来解析霍桑书写中复杂难解的现象。此论文
主要分为三部分，分别探讨延异在背景安排、角色刻画、与符号A的发展在红字一书中的实
践。在如此的分析之后，我们可以发现身为一位作家，霍桑已逐渐失去对于文本的极权统
治，相反地，文本本身就如同是一座游乐场，于内，符号的自由嬉戏成为可能。最后，当
延异开始，腥红A字的「终极意义」注定难寻—意义是永恒迥异而延宕。
[摘要]
Nathaniel Hawthorne’s The Scarlet Letter has undoubtedly been considered as
his masterpiece for there exists some strangeness that is named as ambiguity
or paradox, Hawthorne’s “headachy” technique, in it. The objective of this
thesis is to examine the strangeness of Hawthorne’s writing strategies of The
Scarlet Letter by associating with Derrida’s idea of différance. For
Derrida, whenever writing begins, the meaning is endlessly relayed and never
comes to a conceptual closure; the signifier is always in search of its
signified through the mediation of other signifiers. The thesis is led to a
post-structuralist approach, addressing Hawthorne’s incapability of fully
controlling the language while writing the novel. To analyze such a
complicated phenomenon, except Derrida’s theory, Roland Barthes’, Lacan’s
and Julia Kristeva’s have applied to serve some possible explanations. The
main body of this thesis is divided into three parts, separately discussing
différance practiced on the arrangement of settings, characterization
and the development of A-sign in The Scarlet Letter. After this analysis, we
may find that Hawthorne, as a writer, has gradually lost his overwhelming
power over the text; instead, the text becomes a playground where the free
play of signs is made possible. Finally, as différance commences, the
“ultimate truth” of scarlet letter A is doomed to be un-searchable—the
meaning is forever differed and deffered.
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