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題名:主體位置遊走於文化差異迷宮:文學與繪畫之交錯閱讀(卡夫卡與埃舍,博赫士與波希,卡爾維諾與馬格利特)
作者:陳吉斯 引用關係
作者(外文):Chen Chi-szu
校院名稱:淡江大學
系所名稱:西洋語文研究所
指導教授:狄殷豪
學位類別:博士
出版日期:2001
主題關鍵詞:身體迷宮主體位置文化差異凝視迫害反思異己他者性身分主奴辨證模擬慾望卡夫卡埃舍博赫士波希卡爾維諾馬格利特Bodychiasmcultural differencegazefacefieldinfinityinvisiblelabyrinthtotalitypersecutionmonstrosityreflexivityLe regardresemblanceself and othertriptychBatailleBorgesBoschCalvinoEscherHegelKafkaKojeveLacanLevinasMagritteMerleau-PontySartreZenoMr. PalomarThe Trial
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本論文以「主體位置」與「文化差異」之交錯關係為主題。希臘神話中鐵休斯與迷宮的傳說是一個表達主體建構與遭遇異己的錯綜關係之原型。作者從此原型歸納出二個語意方塊─"quartet of being"與"quartet of Being";前者指射古典傳說中的自我與異己概念,後者指射古典傳說中的秩序概念。此二者將運用在探討當代「迷宮」文學與繪畫中三種交錯(intertwining)主題:一、如何凸顯(figuring out)迷宮及迷宮經驗;二、迷宮的「蠻性」(the monster, the monstrous conflicting, the monstrosity of totalizing)的建構與主體性建構之關連;三、以反思(reflection)跨越迷宮的可能性與侷限性。
作者認為在探討主體性之建構與文化差異時,「四元模式」比「二元模式」的「主奴辨證」(master and slave dialectics)以及「三元模式」的「模擬慾望」(mimetic desire)更加完備與豐富。「四元模式」所強調的是能包容相反、矛盾與相似(contrariety, contradiction, implication)關係的「場」(field)。在自我認同時「場」提供更周延的選擇;在全球化的趨勢中「場」模式提供更多對話、談判與翻譯的空間。在此四元模式中,「傳統」不是一靜止的存在,也不是一整合的霸權,而是相反、矛盾與相似關係交會的節點。在此模式中,異己在吾人認知中不會失去其他者性(alterity),因異己不被當作一抽象的範疇,而是一能動的關係。此認知模式亦不會因蠻化(monsterize)異己而加深衝突與迫害,因每一場域中的個體都是場的一部分,因而共組、共享資源、共承「蠻性」的後果。在此認知模式中,身分(identity) 不是一視覺景象(sight),而是一個「場」─人與諸多傳統的關係如整體中的個體(body in Body)既 是一而多(one in many),也是多而一(many in one)。
The present thesis takes "location of identity" and "location of cultural difference" as two major subjects. The Cretan legend of Theseus and the labyrinth is a profound archetype in representing the complicated process of identity construction and the difficult experiences of encountering others. I have elaborated two semiotic squares from the significance of the Classical legend about labyrinth--"the quartet of being" which shows the Classical conception of inter-personal relations, and "the quartet of Being" which shows the Classical conception of order. I apply these two models to certain contemporary "labyrinthine" literature and arts to illuminate the visibility and invisibility of "identity construction" in three respects: first, how does one "figure out" a labyrinth or labyrinthine experience; second, how the construction of "the monstrous" of the labyrinth (the monster, the monstrous conflicting, the monstrosity of totalizing) is related to the construction of identity; third, the possibilities and limitations of "reflection" as a way to walk "across" the labyrinth.
In chapter one, "Figuring the Labyrinth: Totality and Infinity In-between Franz Kafka's The Trial and M. C. Escher's Prints," I tackle the problem of the visibility and invisibility of "Totality" and of "Infinity" as revealed in the graphic works of M. C. Escher and in Franz Kafka's The Trial and some related short writings. The problem of "figure and ground" is explored both in visual texts and verbal texts, especially with reference to "figuring out" the other beings. Visibility of the infinity and totality of the other with be studied through exploring the relation between figure and ground, look of the self and gaze of the other. Through the examples of Escher's prints, I opt for a "principle of field" to replace the "principle of exclusion or inclusion" as a better mode of thinking in perceiving the others and in constructing identity.
In chapter two, "Unfolding the Labyrinth: Persecution and Monstrosity In-between Jorge Luis Borges's Stories and Hieronymus Bosch's Triptych," I will focus on the problem of violence and persecution. The pathos of perceiving the distortion and transformation of Nature and humanity, and the ethos of constructing oculocentric and phallogocentic architecture will be investigated in terms of "monstrosity" in this chapter. The psychology of creating a labyrinth, the ramification and variety of labyrinth will be traced in Bosch's triptych, The Garden of Earthly Delights and in Borges's short stories.
In chapter three, "Crossing the Labyrinth: Reflexivity and Difference In-between Italo Calvino's Mr. Palomar and Rene Magritte's Paintings," I develop from the observations of the four spheres of the other in previous chapter and investigate a "chiasmatic" confluence--the possibilities and limitations of using "reflection" and the principle of "resemblance" in dealing with different spheres of the other. I focus on the "crossing" of boundaries between human and non-human, the native and the foreign, Civilization and Nature. The Christian conception of walking through a labyrinth as a discipline of self-reflection will be exemplified in Calvino's Mr. Palomar and in the meta-painterly works of Magritte.
Throughout the present studies, I find that for the consolidation of identity, the four-fold structure is more bountiful than the bi-polar model of "master and slave" dialectics and trinary model of "mimetic desire." What the four-fold structure suggests is a "field" that encompasses the relations of contrarieties, contradictions, and implications. In terms of individual identification, such a model affords more space of choices. In terms of ethical relation in a growing community, especially in the present globalization atmosphere, such a model affords space for dialogue, negotiation, and translation. We will find that in the four-fold structure, "tradition" will not be understood as a static entity nor as a totalizing hegemony, but as a node of the confluence of relations, be it implication, contrariety, or contradiction. And the other being in such a way of thinking will not be deprived of its alterity, for it is not understood as an abstract category or an invested meaning but as a relation. Such a model can not be used to "monsterize" the other to intensity conflict and persecution, for anyone has a share with the resource of a field and the problem of monstrosity. In such a model, we may think of identity not as a sight or category but as a field. The relation between a subject and multitudes of traditions will be understood as "body-in-Body," which is one in many and many in one.
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