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題名：層層刮覆的視境：魯希迪四部曲小說之離散美學
作者：蘇榕 引用關係
作者(外文)：Su, Jung
校院名稱：國立臺灣師範大學
系所名稱：英語研究所
指導教授：田維新
學位類別：博士
出版日期：1999
主題關鍵詞：魯希迪；羊皮紙；離散美學；第三世界；《午夜兒女》；《恥辱》；《魔鬼詩篇》；《墨爾人的臨去之嘆》；Rushdie；Palimpsest；Diaspora Aesthetic；Third World；Midnight''s Children；Shame；The Satanic Verses；The Moor''s Last Sigh
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層層刮覆的視境：魯希迪四部曲小說之離散美學
摘 要
魯希迪的四部曲小說──《午夜兒女》、《恥辱》、《魔鬼詩篇》、《墨爾人的臨去之嘆》是以離散美學呈現的一系列有關離散經驗再現的小說，這四部小說以互補互涉的方式，提出多項後殖民論述的重要議題，擘畫出作者層層刮覆的羊皮紙文化視境。
本文在導論中就作者和作品含混曖昧的位置、漂泊離散和「家」的相對關係、離散美學的幾項特色，以及此四部小說之為四部曲的象徵意義分別加以說明。第二章針對《午夜兒女》之嘲仿真實性，說明離散觀點下層層刮覆的敘述既顛覆批判史實，也揭示第三世界國家之形成與其仰賴民族主義的潛藏危機。第三章著眼於《恥辱》對邊緣策略的徵用，分析若干離散美學運用上的缺失。第四章著重《魔鬼詩篇》跨越邊界的踰越企圖，探討離散主體如何以文化翻譯的踰越行為，結合大都會新興論述，跳脫單一文化認同的泥淖。第五章點出《墨爾人的臨去之嘆》具體視覺化魯希迪的文化折衷主義，討論「以話述畫」的表現法則如何結合雜種策略，刻畫作者的文化烏托邦，以及此理想幻滅之隱憂。結論以踰越的意志力總結魯希迪四部曲小說的創作企圖，並說明作者以離散美學重新定義「家」的概念，以遷徙和翻譯的隱喻詮釋越界，以雜種性影射文化異質性，以層層刮覆的羊皮紙比喻文化的重疊視境，為文化再生另闢了新興的對話空間。
The Palimpsest Vision: Diaspora Aesthetic in Salman Rushdie''s Tetralogy
Abstract
Salman Rushdie''s tetralogy-Midnight''s Children, Shame, The Satanic Verses, and The Moor''s Last Sigh-is a sequence of novels concerning the representation of diaspora experience. Its intertextuality and complicated diaspora aesthetic enable each of the four novels to explain, illumine, and complement one another, proposing several significant agendas of the post-colonial discourse and conjuring up the palimpsest vision of the eclectic culture.
The introductory chapter includes four significant topics which foreground the subsequent argument: the ambivalent positionality of Rushdie and his works, the relation between diaspora and the concept of "home," Rushdie''s diaspora aesthetic, and the symbolic meaning of the tetralogy. Chapter Two highlights the mockery of the ideal of authenticity in Midnight''s Children. The unreliable, palimpsest narration aims to not only subvert and critique the official history but also unravel the crisis of Third World national formation and its reliance on nationalism. The main concern of Chapter Three consists in the expropriation of the periphery in Shame, which exhibits the inner conflict of the diaspora aesthetic. Centering on "crossing frontiers," Chapter Four analyzes how the diasporic subject, motivated by the metropolitan emergent discourse, adopts the transgressive act of cultural translation to liberate itself from the myth of unitary identity. Chapter Five elucidates how Rushdie visualizes his cultural eclecticism in The Moor''s Last Sigh with ekphrasis and the politics of hybridity and laments the betrayal of that ideal. The concluding chapter looks upon the transgressive will as an impetus for the orchestration of Rushdie''s diaspora aesthetic. In redefining the concept of "home," animating the act of frontier crossing with translation and migration, comparing the heterogeneity of culture to hybridity, and re-inscribing the overlapping vision of culture with the metaphor of palimpsest, Rushdie''s tetralogy opens the dialogic space for the regeneration of culture.
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