他运用文学符号学对西方传统的“文”——他认为这种文具有逻格斯中心主义倾向的解构非常精彩，也引起过巨大的争议。
His deconstruction to Western traditional culture, he thinks, which has some tendency of logocentrism is very wonderful by his literature semiology.
符号学自身并不是文学理论。
索绪尔和其他符号学家都很关注的一件事就是，符号学对于，任意一种文学理论的影响。
The important thing about Saussure and the discipline of semiotics is the incredible influence that it has had on virtually every form of subsequent literary theory.
从符号学的角度，如果把《红字》作为一个符号，这个符号的所指就是文学作品传达给读者的信息。
From the Angle of semiotic study, if we take a literary work as a sign, its signified is the message it conveys.
但文学符号的自指性又绝非单纯的语言学或符号学问题，它必然受制于社会文化规则和既定的程式规范。
On the other hand, it is also subject to the cultural modes and literary conventions, thus causing the self-contradiction in the pursuits of literary semiotics.
符号学虽然未尽完善，但它确实可以为文学批评提供有效的分析方法和手段。
Literary semiotics, though not perfect right now, really presents an effective analysis method of literary criticism.
莫里斯的符号学意义理论为在文学翻译中实现语言符号的三种意义提供了理论前提。
Theoretical origins are found in Morris'meaning theory to achieve equivalence in semantic, syntactic and pragmatic dimensions.
莫里斯的符号学意义理论为在文学翻译中实现语言符号的三种意义提供了理论前提。
Theoretical origins are found in Morris'meaning theory to achieve equivalence in semantic, syntactic and pragmatic dimensions.
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