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苏珊·桑塔格处女作《恩主》中对梦境符号的建构表达了其早期的美学理想。本文以尤里·洛特曼的文艺符号学理论为基础,从符号互动的角度,对梦与现实的关系展开动态对话的分析。梦境,作为《恩主》中最重要的符号,与桑塔格在“反对阐释”理论诉求中所宣扬的艺术美学自治观点存在着一种互文同构关系,体现了其早期批评式艺术创作的高度自省性以及与自我进行“内在对话”的复杂性、动态性与未完成性。
Susan Sontag’s debut “Grace” in the construction of dream symbols expressed its early aesthetic ideal. Based on the literary semiotic theory of Yuri Lotman, this article analyzes the relationship between dream and reality from the perspective of symbolic interaction through dynamic dialogue. Dream, as the most important symbol in “Lord of Grace”, has an intertextual and isomorphic relationship with Sontag’s autonomy of art aesthetics advocated in the theory of “opposition to interpretation”, which reflects its early criticism The high degree of self-examination of artistic creation and the complexity, dynamism and incompleteness of “inner dialogue” with self.