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題名 | Time of the Crystal, Time of Becoming: A Deleuzian Reading of David Foster Wallace's "The Soul Is Not a Smithy"=晶體時間、生成時間:大衛.福斯特.華萊士〈靈魂不是個鐵工坊〉的德勒茲式讀法 |
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作者姓名(中文) | 李書雨; |
作者姓名(外文) | Lee, Shu-yu; |
書刊名 | NTU Studies in Language and Literature |
卷期 | 39 2018.06[民107.06] |
頁次 | 頁29-51 |
分類號 | 874.57 |
語文 | eng |
關鍵詞 | 大衛.福斯特.華萊士; 靈魂不是個鐵工坊; 遺忘; 德勒茲; 電影2:時間-影像; 晶體敘事; 時間; David Foster Wallace; The Soul Is Not a Smithy; Oblivion; Gilles Deleuze; Cinema 2: The Time-Image; Crystalline narration; Time; |
英文摘要 | "The Soul Is Not a Smithy," one of the stories in David Foster Wallace's Oblivion, is a first-person narrative that opens with the promise to recount a classroom hostage situation he went through as a nine-year-old child but immediately disintegrates into multiple, seemingly irrelevant narrative threads. Upon its publication, the story baffled many reviewers, who are left wondering "who is telling this story? Where are we? What exactly is happening?" (Mason). Although recent criticism has suggested various explanations for the obfuscating narration, a detailed analysis of the organization of the story is still lacking. This essay aims to tease out the underlying structure of Wallace's short story from the perspective of Gilles Deleuze's concept of the "crystalline narration." In this Deleuzian reading, "Smithy" expresses an anti-representational aesthetics that, instead of representing the hostage crisis as a pre-exisitng, self-identical referent independent of its representation, creates it as a virtual-actual becoming, an ongoing process rather than a fully-formed object. This essay will first present a brief introduction to the Deleuzian crystalline narration and two concepts that it presupposes: time as duration and the ontology of becoming. I will then discuss the cinematographicity of "Smithy," which will provide a mandate for interpreting Wallace's short story from the perspective of film theory. The bulk of the paper will be devoted to interpreting "Smithy" as a crystalline narration and analyzing how its reconceptualization of time creates the hostage event as a becoming |
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