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上海大学学报(社会科学版) ›› 2025, Vol. 42 ›› Issue (3): 37-50.

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博尔赫斯“迷宫”的科幻启示：梦与镜的模拟世界

  

  1. 浙江传媒学院 浙江省影视与戏剧研究中心
  • 出版日期:2025-05-15 发布日期:2025-05-26
  • 作者简介:周冬莹，浙江传媒学院浙江省影视与戏剧研究中心、华策电影学院教授。研究方向：电影理 论。
  • 基金资助:
    国家社会科学基金艺术学一般项目（19BC035）

The Science Fiction Implications of Borges’“Labyrinth”: Simulated Worlds of Dreams and Mirrors

  1. Zhejiang Provincial Research Center for Film,Television and Drama, Communication University of Zhejiang
  • Online:2025-05-15 Published:2025-05-26

摘要：

“迷宫”是路易斯·博尔赫斯魔幻文学中的主要符号形象。博尔赫斯融合了哲学、数学甚至语言的元素，使迷宫成为一种智力构造而不仅仅是物理空间。他大多以梦与镜为方法，创建唯心主义式的、充满拟像的迷宫，也即模拟世界。诸多科幻小说家和导演都曾受益于博尔赫斯，比如安德烈·塔可夫斯基和克里斯托弗·诺兰。博尔赫斯的迷宫启示甚或预示着让·鲍德里亚的超现实概念以及尼克·博斯特罗姆的计算机模拟理论，它们在博尔赫斯理论基础上，进一步探讨了“模拟”如何深刻影响了我们对于自身和世界的认知。

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Abstract:

The“labyrinth”serves as a primary symbolic image in the magical literature of Jorge Luis Borges. By integrating elements of philosophy, mathematics, and linguistics, Borges transforms the labyrinth into an intellectual construct rather than a mere physical space. Frequently employing dreams and mirrors as methodologies, he creates an idealist labyrinth brimming with simulacra—essentially, a simulated world. Numerous science fiction authors and filmmakers, including Andrei Tarkovsky and Christopher Nolan, have drawn inspiration from Borges. His conception of the labyrinth may even foreshadow Jean Baudrillard’s notion of hyperreality and Nick Bostrom’s computer simulation theory. These theories, building upon Borges’ foundational concepts, explore how“simulation”shapes our understanding of ourselves and the world.

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