Abstract Illuminating innovatively the dialectic by which “sign” is induced “to signify” requires an analysis of the inferrer-entailed symbolics constituting “signified,” a process particularly observable during relative, purposeful re-signification, particularly at high-visibility sites. Because Nathaniel Hawthorne focused intently his romantic-dramatic oeuvre on cynosural women, because of his affinity for allegorical signification, and especially for his tangibility to feminist themes and axiologies of virtue transcending even the highly reformist nineteenth century, he is here chosen an interpretation-open “carrier wave” for that research. Climactically and consonant thematically, also instructive is Umberto Eco’s unnamed, eponymous “Rose” for being an antiphrastic sign with a truth of its own signifying at least (like Hawthorne’s Puritan-oblique Hester Prynne) divergence from male/hieratic hermeneutics; at most (like Apuleius’s metaphysical Psyche, Hawthorne’s lodestar) ineffable, philosophical Good. As if to the generating premise, Eco wrote in The Name of the Rose, “Without an eye to read them[,] signs produce no concepts”; socially consequential signification-conditioned transformation, in that eye and toward those signifieds, symptomatic both historical and rhetorical, is here assayed.

中文翻译：

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重新充电的标志：霍桑和符号变质

摘要要创新性地阐明“符号”被“表示”的辩证法，就需要对构成“符号”的下位者所象征的符号进行分析，这一过程在相对有目的的重新符号化中尤其是在高可见性场所尤其明显。由于纳撒尼尔·霍索恩（Nathaniel Hawthorne）专注于将其浪漫戏剧性的作品集中于讽刺妇女，因为他对寓言意义的亲和力，尤其是他对女权主义主题和美德价值学的切切了解，甚至超越了高度改革派的十九世纪，因此他在这里被选为开放的解释该研究的“载波”。Umberto Eco的名字在气候上和主题上都辅之以至，也很有启发性，同名“玫瑰”，是一种反短语，带有其本身的真实性，至少（与霍桑的清教徒倾斜的海斯特·普林尼类似）与男性/等级学诠释学背道而驰；最多（如Apuleius的形而上学的Psyche，Hawthorne的lodestar）是无法言喻的，哲学上的善。就像在生成的前提上一样，《生态》在《玫瑰的名字》中写道：“没有眼睛看它们，[，]标志就没有概念。” 在此，我们分析了社会意义上的意义条件转变，即从那只眼看向那些有意征兆的东西，既有历史的也有修辞的。]标志不产生任何概念“；在此，我们分析了社会意义上的意义条件转变，即从那只眼看向那些有意征兆的东西，既有历史的也有修辞的。]标志不产生任何概念“；在此，我们分析了社会意义上的意义条件转变，即从那只眼看向那些有意征兆的东西，既有历史的也有修辞的。