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第39行： − + − 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).+ − <font color="#ff8000">自指在文学与电影中同样存在，譬如，一个作者可能在作品本身的背景下提到他自己的 作品。</font>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》 ，意大利卡尔维诺Italo Calvino 的<font color="#ff8000"> 《如果在冬夜，一个旅人》</font>，尼古拉·戈戈Nikolai Gogol 的许多故事，约翰·巴特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<font color="#ff8000"> 《八部半》</font>和 布莱恩·福布斯Bryan Forbes 的《陋室红颜》。<font color="#ff8000">推理小说作家 </font>塞谬尔·迪兰尼在他的小说《 新星》和《 代尔格林 》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<font color="#ff8000"> 小说家会在</font>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<font color="#ff8000">使读者意识到 </font>小说家是故事的作者; 同样地，在<font color="#ff8000">《代尔格林》一书中 </font>，德拉尼有一个名为Kid(或Kidd，在某些部分)的主角，<font color="#ff8000">这个主角的生活就是小说本身的镜像 </font>。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，<font color="#ff8000">反派们 </font>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 伊利亚特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)。+ + − Self-reference in art is closely related to the concepts of [[fourth wall|breaking the fourth wall]] and [[meta-reference]], which often involve self-reference. The short stories of [[Jorge Luis Borges]] play with self-reference and related paradoxes in many ways. [[Samuel Beckett]]'s ''[[Krapp's Last Tape]]'' consists entirely of the protagonist listening to and making recordings of himself, mostly about other recordings. During the 1990s and 2000s filmic self-reference was a popular part of the [[rubber reality]] movement, notably in [[Charlie Kaufman]]'s films ''[[Being John Malkovich]]'' and ''[[Adaptation (film)|Adaptation]]'', the latter pushing the concept arguably to its breaking point as it attempts to portray its own creation, in a [[Story within a story#Fractal Fiction|dramatized version]] of the [[Droste effect]]. − Self-reference in art is closely related to the concepts of breaking the fourth wall and meta-reference, which often involve self-reference. The short stories of Jorge Luis Borges play with self-reference and related paradoxes in many ways. Samuel Beckett's Krapp's Last Tape consists entirely of the protagonist listening to and making recordings of himself, mostly about other recordings. During the 1990s and 2000s filmic self-reference was a popular part of the rubber reality movement, notably in Charlie Kaufman's films Being John Malkovich and Adaptation, the latter pushing the concept arguably to its breaking point as it attempts to portray its own creation, in a dramatized version of the Droste effect. − 艺术中的<font color="#ff8000"> 自指</font>与打破第四道墙和元参考的概念密切相关。豪尔赫·路易斯·博尔赫斯的短篇小说在许多方面玩弄着<font color="#ff8000"> 自指</font>和相关的悖论。塞缪尔 · 贝克特的<font color="#ff8000"> 话剧《克拉普的最后碟带》</font>完全由主人公自己听录音组成，大部分是关于其他录音的。在20世纪90年代和21世纪初，电影自指是橡胶现实运动的一个流行部分，特别是在查理考夫曼的电影<font color="#ff8000"> 《成为约翰·马尔科维奇》</font>和改编作品中，后者可以说是把这一概念推动到了临近崩溃的边缘，因为它试图在一个德罗斯特效应剧本化的版本里描绘自己的创作。+ − Various [[creation myths]] invoke self-reference to solve the problem of what created the creator. For example, the [[Egyptian creation myth]] has a god swallowing his own semen to create himself. The [[Ouroboros]] is a mythical dragon which eats itself.+ − Various creation myths invoke self-reference to solve the problem of what created the creator. For example, the Egyptian creation myth has a god swallowing his own semen to create himself. The Ouroboros is a mythical dragon which eats itself. − 各种创世神话援引<font color="#ff8000"> 自指</font>来解决是什么创造了创造者的问题。例如，埃及创世神话中有一个神吞下自己的精液来创造自己。衔尾蛇是一种神话中的会吃自己的龙。+ − − − − The [[Quran]] includes numerous instances of self-referentiality.<ref>{{cite book |last1=Madigan |first1=David |title=The Qur'ân's Self-Image. Writing and Authority in Islam's Scripture}}</ref><ref>{{cite book |last1=Boisliveau |first1=Anne-Sylvie |title=Le Coran par lui-même}}</ref> − − The Quran includes numerous instances of self-referentiality. − − 《古兰经》中有许多<font color="#ff8000"> 自指</font>的例子。<ref>{{cite book |last1=Madigan |first1=David |title=The Qur'ân's Self-Image. Writing and Authority in Islam's Scripture}}</ref><ref>{{cite book |last1=Boisliveau |first1=Anne-Sylvie |title=Le Coran par lui-même}}</ref> 第78行：
第67行： − 超现实主义画家勒内 · 马格利特以<font color="#ff8000"> 自指</font>著称。<font color="#ff8000"> 其真实性完全取决于单词 ceci (英语中的“ this”)是指画作所描绘的烟斗，还是指画作本身，抑或“ceci”这个单词，或者是指这个句子本身。</font>他的画作《形象的叛逆》有“这不是烟斗”的字样，M.c.埃舍尔的艺术也包含了许多<font color="#ff8000"> 自指</font>的概念，<font color="#ff8000"> 比如他的手绘作品</font>。+ + +
→In art 艺术
自指在生物学中表现为[[自复制]] self-replication，正如 DNA 和 RNA 复制机制所体现的那样。[[康威的生命游戏]]中有自复制的模型，这些模型启发制造工程系统，比如自复制的3D打印机 RepRap就是一个很好的例子。
自指在生物学中表现为[[自复制]] self-replication，正如 DNA 和 RNA 复制机制所体现的那样。[[康威的生命游戏]]中有自复制的模型，这些模型启发制造工程系统，比如自复制的3D打印机 RepRap就是一个很好的例子。
== In art 艺术==
==在艺术中==
自指在文学与电影中同样存在，譬如，一个作者可能在作品本身的背景下提到他自己的作品。
例子包括米格尔·德·塞万提斯 Miguel de Cervantes的《堂吉诃德》，莎士比亚 Shakespeare 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》 ，意大利卡尔维诺Italo Calvino 的《如果在冬夜，一个旅人》，尼古拉·戈戈Nikolai Gogol 的许多故事，约翰·巴特John Barth 的《游乐园里的迷失》 ，路伊吉·皮兰德娄 Luigi Pirandello 的《寻找作家的六个人物》 ，费德里柯·费里尼 Federico Fellini的 《八部半》和 布莱恩·福布斯Bryan Forbes 的《陋室红颜》。
推理小说作家塞谬尔·迪兰尼Samuel R. Delany在他的小说《新星》和《代尔格林》中使用了这一点。在前者中，卡廷Katin(一个航天小说家)担心一个长期存在的诅咒，即小说家会在完成任何给定的作品之前死去。Nova在中间去世，因此增加了诅咒的可信度，并<font color="#ff8000">使读者意识到 </font>小说家是故事的作者; 同样地，在<font color="#ff8000">《代尔格林》一书中 </font>，德拉尼有一个名为Kid(或Kidd，在某些部分)的主角，<font color="#ff8000">这个主角的生活就是小说本身的镜像 </font>。在科幻恶搞电影《太空炮弹》中，导演梅尔·布鲁克斯Mel Brooks 拍摄了一个场景，<font color="#ff8000">反派们 </font>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伊利亚特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)。<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>
艺术中的自指与打破第四道墙和元引用meta-reference的概念密切相关。豪尔赫·路易斯·博尔赫斯 Jorge Luis Borges的短篇小说在许多方面玩弄着自指和相关的悖论。塞缪尔·贝克特Samuel Beckett的话剧《克拉普的最后碟带》完全由主人公自己听录音组成，大部分是关于其他录音的。在20世纪90年代和21世纪初，电影自指是虚幻电影Rubber Reality运动的一个流行部分，特别是在查理·考夫曼Charlie Kaufman的电影《成为约翰马尔科维奇》和改编作品中，后者可以说是把这一概念推动到了鼎盛时期，因为它试图在一个德罗斯特效应剧本化的版本里描绘自己的创作。
各种创世神话援引自指来解决是什么创造了创造者的问题。例如，埃及创世神话中有一个神吞下自己的精液来创造自己。衔尾蛇是一种神话中的会吃自己的龙。
《古兰经》Quran中有许多自指的例子。<ref>{{cite book |last1=Madigan |first1=David |title=The Qur'ân's Self-Image. Writing and Authority in Islam's Scripture}}</ref><ref>{{cite book |last1=Boisliveau |first1=Anne-Sylvie |title=Le Coran par lui-même}}</ref>
The surrealist painter René Magritte is famous for his self-referential works. His painting The Treachery of Images, includes the words "this is not a pipe", the truth of which depends entirely on whether the word ceci (in English, "this") refers to the pipe depicted—or to the painting or the word or sentence itself. M.C. Escher's art also contains many self-referential concepts such as hands drawing themselves.
The surrealist painter René Magritte is famous for his self-referential works. His painting The Treachery of Images, includes the words "this is not a pipe", the truth of which depends entirely on whether the word ceci (in English, "this") refers to the pipe depicted—or to the painting or the word or sentence itself. M.C. Escher's art also contains many self-referential concepts such as hands drawing themselves.
超现实主义画家勒内·马格利特René Magritte以自指类的作品著称。他的画作《形象的背叛》The Treachery of Images，图片是一个烟斗，但是却包含了“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”)是指画作所描绘的烟斗，还是指画作本身，抑或“ceci”这个单词，或者是指这个句子本身。埃舍尔M.C. Escher的艺术也包含了许多自指的概念，比如他的手绘作品。
同时
== In language 语言学==
== In language 语言学==