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題 名 | 駱以軍的第四人稱單數書寫(2)--時間製圖學=Yi-chun Ro's Fourth-person Singular Writing (2): A Cartography of Time |
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作 者 | 楊凱麟; | 書刊名 | 清華學報 |
卷 期 | 35:2 民94.12 |
頁 次 | 頁369-403 |
專 輯 | 哲學概念史專號 |
分類號 | 823.6 |
關鍵詞 | 時間性; 虛擬性; 我; 第四人稱單數; 回憶; 死亡; Temporality; Virtuality; I; The fourth-person singular; Memory; Death; |
語 文 | 中文(Chinese) |
中文摘要 | 本文延續〈駱以軍的第四人稱單數書寫(1/2):空間考古學〉的探討,對駱以軍小說中的時間性及相關論域從事文本分析。首先,一再出現於小說中的「我」作為貫穿各種故事的人稱(或人物),其實是一種「第四人稱」或「無人稱」;因為敘述極度的碎裂與錯接,使得「我」並不指向任何一個實存的個體,而是由各式八卦、回憶、事件、夢境…所錯亂拼合而成。第二,回憶成為駱以軍小說藉以操弄時間的材料,回憶的回憶及回憶的遣忘在時間中構成極其複雜的差異與重複,而小說最終成為一種透過回憶(的回憶)所構築的「我城」,是對一整座龐大的虛擬城市的造鎮計畫。第三,時間在駱以軍小說中被等同於傷害,生命則是一個瓦解的過程,在歷經一切滄桑後,寫作似乎僅為了聊遣悲懷以度餘生。第四、死亡成為駱以軍小說的邊界,然而在書寫中卻又不斷越界或畫界,各式怪奇的死亡翻湧而出,似乎正是生死一線的時空糾葛中才得以豁然開出書寫的虛擬性,然而,支撐這個大膽撩發死亡並與之周旋到底的特異書寫,無疑地必然是在高張文字平面上噴吐崩瀉的生命強度。書寫成為一種「越界序言」。 |
英文摘要 | This essay is a continuation of my previous essay “Yi-Chun Ro’s Fourth-Person Sigular Writing (1/2): An Archeology of Space.” I would like to analyze the temporality and its related “horizons” in Yi-Chun Ro’s novels. First of all, the “I” which appears recurrently in his novels, acting as a narrative voice or a personage which links a variety of stories, is actually a “fourth-person” or an ‘impersonal” writing. Because of the extreme fragmentation and delocalization of the narration, the “I” does not refer to any actual and specific individual; on the contrary, it is a patchwork of all kinds of gossips, memories, events, dreams, etc, Second, memory becomes material with which Yi-Chun Ro manipulates temporality in his novels; reminiscence of memory and forgetting of memory constitute in time a complicated series of difference and repetition. His novels become, at last, an “I-City” built upon memory (or its remembering), a town-building project for a vast virtual city. Third, time is regarded as equivalent to damage, while life is a procedure of breakdown; after having suffered all kinds of injuries, the “I” writes merely to dispel sadness in order to get through the remaining life. Forth, death becomes the border of Yi-Chun Ro’s writing; however, the attempts constantly to transgress it or to delimit it. Various kinds of extraordinary deaths spout; it seems that only at the frontier of life and death, the virtuality of writing is opened up. What sustains such a singular writing which plays daringly with death is nevertheless undoubtedly the intensity of life which gushes and rushes over the highly tense verbal plane. Writing becomes, hence, a “preface to transgression.” |
本系統中英文摘要資訊取自各篇刊載內容。