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第86行： − 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。+ 第94行：
第94行： − 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》 ，意大利卡尔维诺Italo Calvino 的《如果在冬天的夜里旅行者》 ，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《81年2月》和 布莱恩·福布斯Bryan Forbes 的《陋室红颜》。推想小说作家塞谬尔·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 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)。+ 第102行：
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无编辑摘要
In game theory, undefined behaviors can occur where two players must model each other's mental states and behaviors, leading to infinite regress.
In game theory, undefined behaviors can occur where two players must model each other's mental states and behaviors, leading to infinite regress.
在<font color='ff8800'>博弈论</font>中，<font color="#ff8000"> 在博弈论中，当博弈双方必须模拟对方的心理状态和行为时，就会出现不确定的行为</font>，导致<font color='ff8800'>无穷回归</font>。
在<font color='ff8800'>博弈论</font>中，<font color="#ff8000"> 当博弈双方必须模拟对方的心理状态和行为时，就会出现不确定的行为</font>，导致<font color='ff8800'>无穷回归</font>。
Tupper's self-referential formula is a mathematical curiosity which plots an image of its own formula.
Tupper's self-referential formula is a mathematical curiosity which plots an image of its own formula.
<font color='ff8800'>塔珀的自指公式</font>是一种数学上的奇思妙想，它用自己的公式描绘出一幅图像。
<font color='ff8800'>塔珀自指公式</font>是一种数学上的奇思妙想，<font color="#ff8000"> 它的图像与其公式本身的样子几乎是一样的。</font>。
== In biology 生物学==
== In biology 生物学==
The biology of self-replication is self-referential, as embodied by DNA and RNA replication mechanisms. Models of self-replication are found in Conway's Game of Life and have inspired engineering systems such as the self-replicating 3D printer RepRap .
The biology of self-replication is self-referential, as embodied by DNA and RNA replication mechanisms. Models of self-replication are found in Conway's Game of Life and have inspired engineering systems such as the self-replicating 3D printer RepRap .
<font color="#ff8000">自指在生物学中表现为自我复制 </font>，正如 DNA 和 RNA 复制机制所体现的那样。<font color="#ff8000">《康威的生命游戏》中有自我复制的模型 </font>，这些模型启发制造了工程系统，比如自我复制的3D打印机 RepRap。
== In art 艺术==
== 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).
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 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.
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，这些概念往往涉及<font color="#ff8000"> 自指</font>。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《最后的磁带》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，电影自指是橡胶现实运动的一个流行部分，特别是在查理考夫曼的《约翰·马尔科维奇》电影和改编中，后者可以说是把这一概念推动到了临近崩溃的边缘，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。
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《约翰·马尔科维奇》电影和改编中，后者可以说是把这一概念推动到了临近崩溃的边缘，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。