更改

自我复制的生物学是<font color="#ff8000"> 自指</font>的，正如 DNA 和 RNA 复制机制所体现的那样。在《康威的生命游戏》中发现了自我复制的模型，这些模型启发了工程系统，比如自我复制的3D打印机 RepRap。

自我复制的生物学是<font color="#ff8000"> 自指</font>的，正如 DNA 和 RNA 复制机制所体现的那样。在《康威的生命游戏》中发现了自我复制的模型，这些模型启发了工程系统，比如自我复制的3D打印机 RepRap。

== In art ==

== In art 艺术==

Self-reference occurs in [[literature]] and [[film]] when an author refers to his or her own work in the context of the work itself. Examples include [[Miguel de Cervantes]]' ''[[Don Quixote]]'', [[Shakespeare]]'s ''[[A Midsummer Night's Dream]]'', ''[[The Tempest]]'' and ''[[Twelfth Night]]'', [[Denis Diderot]]'s ''[[Jacques le fataliste et son maître]]'', [[Italo Calvino]]'s ''[[If on a winter's night a traveler]]'', many stories by [[Nikolai Gogol]], ''[[Lost in the Funhouse]]'' by [[John Barth]], [[Luigi Pirandello]]'s ''[[Six Characters in Search of an Author]]'', [[Federico Fellini]]'s ''[[8½]]'' and [[Bryan Forbes]]'s ''[[The L-Shaped Room]]''. Speculative fiction writer [[Samuel R. Delany]] makes use of this in his novels [[Nova]] and [[Dhalgren]].  In the former, Katin (a space-faring novelist) is wary of a long-standing curse wherein a novelist dies before completing any given work.  [[Nova]] ends mid-sentence, thus lending credence to the curse and the realization that the novelist is the author of the story; likewise, throughout [[Dhalgren]], Delany has a protagonist simply named The Kid (or Kidd, in some sections), whose life and work are mirror images of themselves and of the novel itself. In the sci-fi spoof film  [[Spaceballs]], Director [[Mel Brooks]] includes a scene wherein the evil characters are viewing a VHS copy of their own story, which shows them watching themselves “watching themselves”, ad infinitum.  Perhaps the earliest example is in [[Homer]]'s ''[[Iliad]]'', where [[Helen of Troy]] laments: "for generations still unborn/we will live in song" (appearing in the song itself).<ref>{{cite book |last1=Homer |others=Translated by Robert Fagles |title=Iliad |year=1990 |publisher=Penguin Books |isbn=1-101-15281-8 |page=207}}</ref>

Self-reference occurs in [[literature]] and [[film]] when an author refers to his or her own work in the context of the work itself. Examples include [[Miguel de Cervantes]]' ''[[Don Quixote]]'', [[Shakespeare]]'s ''[[A Midsummer Night's Dream]]'', ''[[The Tempest]]'' and ''[[Twelfth Night]]'', [[Denis Diderot]]'s ''[[Jacques le fataliste et son maître]]'', [[Italo Calvino]]'s ''[[If on a winter's night a traveler]]'', many stories by [[Nikolai Gogol]], ''[[Lost in the Funhouse]]'' by [[John Barth]], [[Luigi Pirandello]]'s ''[[Six Characters in Search of an Author]]'', [[Federico Fellini]]'s ''[[8½]]'' and [[Bryan Forbes]]'s ''[[The L-Shaped Room]]''. Speculative fiction writer [[Samuel R. Delany]] makes use of this in his novels [[Nova]] and [[Dhalgren]].  In the former, Katin (a space-faring novelist) is wary of a long-standing curse wherein a novelist dies before completing any given work.  [[Nova]] ends mid-sentence, thus lending credence to the curse and the realization that the novelist is the author of the story; likewise, throughout [[Dhalgren]], Delany has a protagonist simply named The Kid (or Kidd, in some sections), whose life and work are mirror images of themselves and of the novel itself. In the sci-fi spoof film  [[Spaceballs]], Director [[Mel Brooks]] includes a scene wherein the evil characters are viewing a VHS copy of their own story, which shows them watching themselves “watching themselves”, ad infinitum.  Perhaps the earliest example is in [[Homer]]'s ''[[Iliad]]'', where [[Helen of Troy]] laments: "for generations still unborn/we will live in song" (appearing in the song itself).<ref>{{cite book |last1=Homer |others=Translated by Robert Fagles |title=Iliad |year=1990 |publisher=Penguin Books |isbn=1-101-15281-8 |page=207}}</ref>

Self-reference occurs in literature and film when an author refers to his or her own work in the context of the work itself. Examples include Miguel de Cervantes' Don Quixote, Shakespeare's A Midsummer Night's Dream, The Tempest and Twelfth Night, Denis Diderot's Jacques le fataliste et son maître, Italo Calvino's If on a winter's night a traveler, many stories by Nikolai Gogol, Lost in the Funhouse by John Barth, Luigi Pirandello's Six Characters in Search of an Author, Federico Fellini's 8½ and Bryan Forbes's The L-Shaped Room. Speculative fiction writer Samuel R. Delany makes use of this in his novels Nova and Dhalgren.  In the former, Katin (a space-faring novelist) is wary of a long-standing curse wherein a novelist dies before completing any given work.  Nova ends mid-sentence, thus lending credence to the curse and the realization that the novelist is the author of the story; likewise, throughout Dhalgren, Delany has a protagonist simply named The Kid (or Kidd, in some sections), whose life and work are mirror images of themselves and of the novel itself. In the sci-fi spoof film  Spaceballs, Director Mel Brooks includes a scene wherein the evil characters are viewing a VHS copy of their own story, which shows them watching themselves “watching themselves”, ad infinitum.  Perhaps the earliest example is in Homer's Iliad, where Helen of Troy laments: "for generations still unborn/we will live in song" (appearing in the song itself).

Self-reference occurs in literature and film when an author refers to his or her own work in the context of the work itself. Examples include Miguel de Cervantes' Don Quixote, Shakespeare's A Midsummer Night's Dream, The Tempest and Twelfth Night, Denis Diderot's Jacques le fataliste et son maître, Italo Calvino's If on a winter's night a traveler, many stories by Nikolai Gogol, Lost in the Funhouse by John Barth, Luigi Pirandello's Six Characters in Search of an Author, Federico Fellini's 8½ and Bryan Forbes's The L-Shaped Room. Speculative fiction writer Samuel R. Delany makes use of this in his novels Nova and Dhalgren.  In the former, Katin (a space-faring novelist) is wary of a long-standing curse wherein a novelist dies before completing any given work.  Nova ends mid-sentence, thus lending credence to the curse and the realization that the novelist is the author of the story; likewise, throughout Dhalgren, Delany has a protagonist simply named The Kid (or Kidd, in some sections), whose life and work are mirror images of themselves and of the novel itself. In the sci-fi spoof film  Spaceballs, Director Mel Brooks includes a scene wherein the evil characters are viewing a VHS copy of their own story, which shows them watching themselves “watching themselves”, ad infinitum.  Perhaps the earliest example is in Homer's Iliad, where Helen of Troy laments: "for generations still unborn/we will live in song" (appearing in the song itself).

自我参照发生在文学和电影中，当一个作者提到他或她自己的作品在作品本身的背景下。例子包括米格尔·德·塞万提斯的《堂吉诃德》 ，莎士比亚的《仲夏夜之梦》 ，《暴风雨》和《第十二夜》 ，Denis Diderot 的《 Jacques le fataliste et son maître 》 ，Italo Calvino 的《如果在冬天的夜里旅行者》 ，Nikolai Gogol 的许多故事，John Barth 的《游乐园里的迷失》 ，路伊吉·皮兰德娄的《寻找作家的六个人物》 ，费德里柯·费里尼的《81年2月》和 Bryan Forbes 的《陋室红颜》。推想小说作家塞谬尔·迪兰尼在他的小说《 Nova 》和《 Dhalgren 》中使用了这一点。在前者中，卡廷(一个航天小说家)担心一个长期存在的诅咒，即小说家在完成任何给定的作品之前死去。诺瓦结束了中间的句子，因此增加了诅咒的可信度，并意识到小说家是故事的作者; 同样地，在整个 Dhalgren，德拉尼有一个名为孩子(或基德，在某些部分)的主角，他的生活和工作是他们自己和小说本身的镜像。在科幻恶搞电影《太空漫步》中，导演梅尔 · 布鲁克斯(Mel Brooks)拍摄了一个场景，邪恶的角色们正在观看自己故事的 VHS 拷贝，这个场景展示了他们无限地观看自己的“观看自己”。也许最早的例子是在 Homer’s Iliad，特洛伊的海伦哀叹道: “为了尚未出生的后代/我们将生活在歌曲中”(出现在歌曲中)。

当一个作者在作品本身的背景下提到他或她自己的作品时，<font color="#ff8000"> 自指</font>发生在文学和电影中。例子包括米格尔·德·塞万提斯的《堂吉诃德》 ，莎士比亚的《仲夏夜之梦》 ，《暴风雨》和《第十二夜》 ，丹尼斯·狄德罗Denis Diderot 的《 宿命论者雅克和他的主人》 ，Italo Calvino 的《如果在冬天的夜里旅行者》 ，Nikolai Gogol 的许多故事，John Barth 的《游乐园里的迷失》 ，路伊吉·皮兰德娄的《寻找作家的六个人物》 ，费德里柯·费里尼的《81年2月》和 Bryan Forbes 的《陋室红颜》。推想小说作家塞谬尔·迪兰尼在他的小说《 Nova 》和《 Dhalgren 》中使用了这一点。在前者中，卡廷(一个航天小说家)担心一个长期存在的诅咒，即小说家在完成任何给定的作品之前死去。诺瓦结束了中间的句子，因此增加了诅咒的可信度，并意识到小说家是故事的作者; 同样地，在整个 Dhalgren，德拉尼有一个名为孩子(或基德，在某些部分)的主角，他的生活和工作是他们自己和小说本身的镜像。在科幻恶搞电影《太空漫步》中，导演梅尔 · 布鲁克斯(Mel Brooks)拍摄了一个场景，邪恶的角色们正在观看自己故事的 VHS 拷贝，这个场景展示了他们无限地观看自己的“观看自己”。也许最早的例子是在 Homer’s Iliad，特洛伊的海伦哀叹道: “为了尚未出生的后代/我们将生活在歌曲中”(出现在歌曲中)。

超现实主义画家勒内 · 马格利特以自我参照著称。他的画作《形象的叛逆有“这不是烟斗”的字样，其真实性完全取决于单词 ceci (英语中的“ this”)是指所描绘的烟斗，还是指画作或单词或句子本身。M.c.埃舍尔的艺术也包含了许多自我参照的概念，比如手绘本身。

超现实主义画家勒内 · 马格利特以自我参照著称。他的画作《形象的叛逆有“这不是烟斗”的字样，其真实性完全取决于单词 ceci (英语中的“ this”)是指所描绘的烟斗，还是指画作或单词或句子本身。M.c.埃舍尔的艺术也包含了许多自我参照的概念，比如手绘本身。

== In language ==

== In language ==