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來源資料
頁籤選單縮合
題 名 | The Flaneur's Gaze: On the Perception and Representation of History in Middlemarch=街頭漫遊者(the flaneur)的凝視--論「中進鎮」(Middlemarch)中歷史的觀察與呈現 |
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作 者 | 周淑娟; | 書刊名 | 興大人文學報 |
卷 期 | 32(上) 民91.06 |
頁 次 | 頁429-460 |
分類號 | 873.57 |
關鍵詞 | 寫實主義; 強力界入之全知敘事者; 街頭漫遊者; 凝視; 網絡; Realism; Intrusive omniscient narrator; The flaneur; Gaze; Web; |
語 文 | 英文(English) |
中文摘要 | 在《中進鎮》一書的開頭,作者艾略特(George Eliot)曾明確地對讀者宣示,該小說將以寫實主義呈現人與時代的變遷;然而相對於寫實主義強調用不帶私人情感的筆法客觀呈現外在世界的技巧來說,《中進鎮》中不時界入小說世界,直接對讀者發表強力言論的敘事者,實與作者的宣示大相逕庭。這樣的予盾若說是作者的疏忽或暇疵,恐怕太過牽強。事實上當英國《西敏書評》(Westminister Review)雜詩於西元一八五三年把歐洲寫實主義運動引進國內時,艾特正是該刊的助理編輯,她對此文學運動之基本主張不應陌生至此。職是,艾略特何以在這般鄭重的宣示後又做出如此衝突之安排便頗值深究。本論文由十九世紀『街頭漫遊者』(the flaneur)的歷史社會概念出發,認為«中進鎮»書中強力界入小說世界之全知敘事者(the intrusive omniscient narrator)乃作者艾略特對寫實主義講求客觀呈現的反省;藉由多樂西亞(Dorothea)、利德格(Lydgate)、及雷第斯樓(Ladislaw)三位行事風格和見解皆與中進鎮社會格格不入之街頭漫遊者凝視觀點的交創、縱橫,艾略特嘗試提醒讀者寫實主義運動中『凝視』此舉的重要性與其中可能蘊涵的陷阱的盲點。對艾略特而言,想要清晰而不受蒙蔽地看清真相,就如一個人立於搖擺的地面觀察水上隨波浮動的魚網織紋般艱困,需不時在多重視角與距離中調整反省,而強力界入的全知敘事者便是艾略特用來梳理中多重視景的支點。然而令人惋惜的是,薄著故事情節複雜性升高,作者逐漸發現她不但為自己的所織撒之網絡所眩,無法理清其脈動與紋路,尤有甚者的是她同時也發現一個人所處世界的真相恐非外在細心的觀察便可獲致。職是,隨著艾略特逐漸放葉她之前所營造的多重觀點而回歸單一視野,她在小說開頭所許下寫實記敘歷史變遷的磅礡任務最終也以街談巷議之輕描淡寫收場。 |
英文摘要 | At the beginning of Middlemarch, Eliot claims to the reader through her narrator that this is going to be a realistic novel about man and the change of time. However, her employment of an intrusive omniscient narrator overtly clashes with the primary expression of realistic art-the presentation of an objective picture of life by a self-effaced narrative voice. Why does Eliot idiosyncratically deploy a narrative voice that contradicts with realism’s claim of objectivity? Through a historical discussion about the flaneur’s perception and his world, this paper argues that the intrusive narrator is Eliot’s particular design for maintaining a more truthful representation of history. In this novel, the society of Middlemarch s presented to the reader through the different perspectives of three major characters-Dorothea, Lydgate and Ladislaw. Bearing a half-participating, half-alienated relationship with their environment, the three characters’ perceptions of their society are that of a flaneur’s. They have the illuminating penetration, which the eyesight of the common mass accustomed to the ways of their society fails to reach. Nevertheless, owing to their individual inner desire, these three flaneurs are in turn blinded in their respective way. Eliot applies the metaphor of the flowing web to show the intricacy of these interweaving visions. And the use of an omniscient intrusive narrator is Eliot’s design to address the problems in seeing by tackling the dazzling phantasmagorias so that a truer vision of the world can be conveyed. Yet, regretfully, during the process she gradually loses her command of the design and the truthful representation ends up a mythical generalization. |
本系統中英文摘要資訊取自各篇刊載內容。