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the pleasure of the text
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  “the pleasure of the text”译为未确定词的双语例句
     Possession: Historical Truth and the Pleasure of the Text
     《占有》:历史的真实与文本的愉悦
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     All of the narrative devices employed contribute to the self-reflexiveness of the story as a metafiction and are parallel to Roland Barthess three famous concepts: “the death of the author,” “writerly text,” and “the pleasure of the text,” which feature the deconstructivism of postmodern texts.
     小说中体现出来的强烈的作者/叙述者自我意识,与法国叙事学家罗兰·巴尔特的三个著名概念———“作者之死”、“可写性文本”和“文本的极乐”———相互辉映,验证了这类文本的解构主义特征。
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     On Pleasure
     论快乐
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     Dangers of Pleasure
     有多快感就有多危险
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     Function is Pleasure
     愉快的功能——谈马西默·尤萨·基尼的设计
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     Sorrow and Pleasure of the Drunk
     细品“醉翁”苦与乐
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     Theme:Pleasure of Architecture
     建筑之悦
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  the pleasure of the text
The pleasure of the text resides in the de-signifying power of representation.
      


As a typical metafiction, “Lost in the Funhouse” makes use of an intrusive narrator, the comments on the novel-writing process and the deconstructed textual structure to illustrate the protagonists contemplation at the time of his being lost in the funhouse. The contemplation is the authors reflection on the nature of novel-writing rather than the protagonists random thoughts. All of the narrative devices employed contribute to the self-reflexiveness of the story as a metafiction and are parallel to Roland...

As a typical metafiction, “Lost in the Funhouse” makes use of an intrusive narrator, the comments on the novel-writing process and the deconstructed textual structure to illustrate the protagonists contemplation at the time of his being lost in the funhouse. The contemplation is the authors reflection on the nature of novel-writing rather than the protagonists random thoughts. All of the narrative devices employed contribute to the self-reflexiveness of the story as a metafiction and are parallel to Roland Barthess three famous concepts: “the death of the author,” “writerly text,” and “the pleasure of the text,” which feature the deconstructivism of postmodern texts.

作为典型的元小说,“迷失在游乐宫”通过引入侵犯叙述者、关注小说创作本身和打破传统的文本结构等创作手法,详细刻画了主人公在迷失时的所思所虑,这些思虑不是简单的胡思乱想,而是作家对小说写作本质的探索与思考。小说中体现出来的强烈的作者/叙述者自我意识,与法国叙事学家罗兰·巴尔特的三个著名概念———“作者之死”、“可写性文本”和“文本的极乐”———相互辉映,验证了这类文本的解构主义特征。

 
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