頁籤選單縮合
題 名 | Struggling with Madness: The Schizophrenic Limit in "The Fall of the House of Usher"=在癲狂邊緣創作:〈亞舍家的傾頹〉中的分裂極限 |
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作 者 | 林宛瑄; | 書刊名 | NTU Studies in Language and Literature |
卷 期 | 37 2017.06[民106.06] |
頁 次 | 頁47-76 |
分類號 | 810 |
關鍵詞 | 愛倫坡; 亞舍家的傾頹; 鏡像疊影; 語言/身體的邊境; 流變為瘋狂; 分裂深淵; 反實化; 生命; Edgar Allan Poe; The Fall of the House of Usher; Doubles; The frontier between language/bodies; Becoming-mad; The schizophrenic depth; Counter-actualization; Life; |
語 文 | 英文(English) |
英文摘要 | Edgar Allan Poe's works pose the question how an inventive artist can arise from the whirlpool of fear and madness. This paper seeks to respond to this question through a reading of "The Fall of the House of Usher" informed by Gilles Deleuze's and Deleuze and Félix Guattari's conception of literature as an enterprise which carries language to its outside, and in the process produces the effect of pulling the "self" as defined by its identity outside itself. Roderick Usher is characterized as a Romantic artist as well as a tormented soul. His avid engagement in artistic and intellectual activities seems to lead to nowhere other than irrevocable madness and destruction. Such a split and tension posited between the image of an artist and that of a madman are explored via the multitude of doubles in the story. The way these doubling patterns accumulate makes the predicament of Roderick an especially fitting instance to be scrutinized in the logic of the relation or non-relation between art-making and self-division. Deleuze's and Deleuze and Guattari's reflections on the "schizophrenic vocation" of literature will be drawn on to provide a new approach to examining the variegated meanings of the doubles in "Usher." It will then be found that instead of simply embodying a certain will to destruction, the doubling patterns reveal a certain complicated relationship between literature and madness. What has been read as the utter disintegration of Roderick's mental condition actually reveals certain powers of schizophrenia which open the "self" to a series of permutations, a process designated by Deleuze as "counter-actualization." Read in this light, both Roderick and the mansion that bears his family name move towards destruction, unveiling the dynamic process of how to bring about a schizophrenic effect with art and literature without producing a schizophrenic. The first-person narrator's narrow escape at the end of the story furthermore points to the possibility of reading the doubles as forces which play divergent roles in selecting the event of writing in the erosion of reason. As a double of Roderick that emerges as the effect of writing and is therefore read as the duplicated image of Roderick, the narrator's eventful journey into the house of Usher brings attention to the writer's problems of surviving the whirlpool of madness and reviving the process of writing |
本系統中英文摘要資訊取自各篇刊載內容。