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題名：英美偵探小說之起落：從愛倫坡到保羅奧斯特
作者：郭文瑜
作者(外文)：KUO,WEN-YU
校院名稱：國立高雄師範大學
系所名稱：英語學系
指導教授：麥迪摩 博士
學位類別：博士
出版日期：2016
主題關鍵詞：偵探小說；偵探；保羅∙奧斯特；解構主義；後現代主義；detective genre；detective；Paul Auster；postmodernism；deconstruction
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中文摘要
此論文主旨在研究英美偵探小說自十九世紀至後現代的發展,運用後現代及解構主義詮釋此文類在文學意義上的起落。十九世紀至二十世紀英美偵探小說家相信理性思考可以導向真理與事實‚偵探藉由理性推理及邏輯找到最後破案的兇手‚而偵探小說的讀者則在故事的結尾得到閱讀偵探小說的樂趣 (心理學及社會學的角度) 。美國後現代小說家保羅∙奧斯特在其作品《玻璃之城》之中深刻地解構了自十九世紀到二十世紀從愛倫坡之後所發展出的偵探小說之文體‚此種廣為讀者閱讀的文類在後現代及後結構主義者的眼中則充滿了理性中心論 (Logocentrism)。也就是說在傳統偵探小說之中傳達了西方哲學自柏拉圖以來相信真理和意義可透過理性思考為其中心的思想‚同時也傳達了一種所謂的絕對真實、確定及秩序‚而後現代認為這種思想僅僅代表了西方文明所認知的世界‚有其不穩定的本質‚因此偵探小說就成為被解構的對象‚解構以偵探 (真相及意義的製造者) 及其本質為具有理性思維、推理及歸納至真相為中心的文類。 保羅∙奧斯特則更進一步在《玻璃之城》之中以各種不同的方式‚在原有的偵探元素基礎之上加以拆解、破壞和變形。 保羅∙奧斯特拒絕不變的、絕對的和一致性的真理‚因此在《玻璃之城》中我們看到他的主角以多重身分出現‚甚至保羅∙奧斯特自己也出現在自已的小說當中‚成為文本的一部分。 讀者的角色在奧斯特的後現代小說中亦被解構‚偵探小說的讀者所期待的合理解釋之結局完全被破壞‚讀者等到的是一個沒有偵探、沒有犯罪、沒有結局的結局。 奧斯特同時也在《玻璃之城》之中解構了語言‚奧斯特認為沒有所謂的先驗的所指‚因為所指在不斷延異的作用下不可能製造穩定及指示的意義 此外奧斯特小說中充滿互文性‚在他的《玻璃之城》之中我們看到其他文本的痕跡‚他的文本亦成為其他文本的母體。 我們可以說傳統偵探小說文體在保羅∙奧斯特的解構之下已成為無生命片段的軀殼、過去的遺跡‚此文體成為了奧斯特解構小說下的犧牲者。
關鍵字: 偵探小說, 偵探, 保羅∙奧斯特, 解構主義, 後現代主義
Abstract
This dissertation examines how Paul Auster employs postmodern and deconstruction concepts in his City of Glass to deconstruct the premises of the traditional detective novel. Nineteen century detective fiction writers, such as Poe and Doyle believe that the application of the power of reason would lead to truth. They also believe that everything should be explained by the power of reason. Hence the detective becomes the interpreter and decipher of the rational world. Poe’s Dupin and Doyle’s Holmes use the method of both inductive and deductive during the investigation. Twentieth century’s detective writers provide a safe world of order, control and stability. They use puzzles, signs, disguises, illusions to control the narrative voice. Agatha Christie provides entrainment, suspense and the temporary relief from the anxieties and traumas of life. The genre reaches its high by bring the reader to a new reading experience of mystery solving. The detective of Christie, Hercule Poirot, can be seen as the reverse of the masculine of the great detective. Poirot changes the traditional patriarchal stereotype of male detective. Yet he is the new hero in the postwar traumatized landscape. American hard-boiled depicts the real criminal and social corruption of the post war America. The novels reflect the real life and real problem in the big cites, like Los Angeles and San Francisco. The hard-boiled characterizes by rapid action, colloquial language and violence. The detective is usually an outsider, isolated from the society, without family but with high morality. Raymond chandler’s Philip Marlowe and Dashiell Hammett’s Sam Spade possess certain qualities such as technical skills, physical courage and sense of justice. They are men of honor. They search for the truth and they attempt to eradicate evil. Although they know that the corruption will never be eradicated.
Like many traditional literary genres, the detective novel has become an object of postmodernist attacks because of its reassuring conclusions (in which crime is detected, solved, and, in many instances punished), pleases the expectations of the reader. However, the “metaphysical detective,” such as we find in Paul Auster’s work, City of Glass, frustrates the expectations of the reader. Therefore, the metaphysical detective novel can be seen as a transgression or a mutation of the detective genre. It is a new use of old techniques but this renewal provides for a new meaning. It still maintains visible connections with the detective novel－ rational Poesque and American hard-boiled, even though it offers no solution or a deconstructed solution which is no solution.
This dissertation examines how Auster employs postmodern and deconstruction themes or techniques in his City of Glass to “deconstruct” the premises of the traditional detective novel. The postmodern deconstructive technique of Auster begins by redefining and then blurring to the point of nonexistence the two primary strengths of the detective novel, the border between the real and the imaginary. The triad authoritative voice, which posits the real existence of a crime, a victim and a criminal, which it then sets out to detect and set right, and the possibility of arriving at a truth through logic and language, but the limitations or borders placed the signifier and its signified has long since dissolved into unmapped and borderless terrain. In a sense, he “murders” the well-established detective genre by resort to such deconstructive concerns as those that apply to “authorial voice” and literature’s implicit trust in Logocentrism. The formulaic detective novel, which Auster’s City of Glass appears to be at the onset (with its predictable plot consisting of a well-made chain of events and definite denouement), dissolves in Auster’s hands. By the end, the reader is forced to doubt not only the authorial voice of the detective, but consider whether the crime, criminal, victim or client ever truly existed. Specific to this presentation will be Auster’s deconstruction of authorial voice, as situated in Auster’s detective, Daniel Quinn. But also the origin of all authorial voices as predicated in the notion of an accurately signifying language whose metaphysical origins are prelapsarian.
Key words: detective genre, detective, Paul Auster, postmodernism, deconstruction
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