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題名：現代主義中的幸福生命：閱讀喬伊斯與吳爾芙
作者：楊志偉
作者(外文)：Julian Chih-Wei Yang
校院名稱：國立臺灣大學
系所名稱：外國語文學研究所
指導教授：廖朝陽
學位類別：博士
出版日期：2018
主題關鍵詞：幸福生命；現代主義；真理自我創造；餘力語言生命；關係即愛；非非人強度；幸福政治學
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本論文旨在討論現代主義小說家喬伊斯與吳爾芙的四本小說中，所呈現的四種幸福生命、四種肯定性生命的存有樣態。全文包含導言與結論，與四個主要章節，而各章重點如下：
導言首先釐清「幸福生命」一詞的意義，並簡單說明撰寫此論文的幾項目的，如探討探現代主義中生命與藝術的關係、哲學理論與文學文本互相佐證與建構的可能，以及發展幸福生命成為閱讀現代主義的方法學之一。
第一章討論喬伊斯小說《一個年輕藝術家的畫像》中，主人翁史蒂芬．迪達勒斯的真理自我創造。史蒂芬依照真理原則形塑自我，藉此發展出一種真實的自我、一種肯定性的自我生命。本章將援引傅柯對於「自我技術」、「真理生命」等概念的討論，藉此解釋史蒂芬生命中真理與自我創造之關聯，以及其肯定性生命之基礎。
第二章則處理史蒂芬在喬伊斯的《畫像》與另一本小說《尤里西斯》的〈普羅特斯〉一章中，所發展出來的第二種肯定性生命，本論文稱之為「餘力語言生命」。此種生命樣態，與主角的語言經驗息息相關：史蒂芬透過語言使用，觸及語言的媒介本性，因此體驗到語言作為一種餘力而存在，進而肯定自身存有。本章則借用阿岡本對於「餘力」一詞的理解，以及餘力與語言媒介性兩者關係的討論，以說明史蒂芬第二種肯定性生命的實踐方式。
第三章則轉向吳爾芙的小說《達洛威夫人》，討論其中所描繪的第三種肯定性生命。如此第三種生命樣態與前兩者最大不同之處在於，史蒂芬的兩種肯定性生命多發生在個人層次，《達洛威夫人》所涉及的肯定性生命則觸及群體面向；此種生命，本論文稱為「關係即愛」。為了要解釋此一生命樣態的內涵，我將援引儂曦對海德格本體論的改寫，即存有需同時理解為共在存有。接著，我會回到海德格的著作，討論「關係」與「愛」兩字所具有的本體論意義，以說明「關係即愛」如何作為某種動態的共在存有方式。藉此，我將討論《達洛威夫人》中所呈現的根本共在樣貌，釐清女主角克萊莉莎．達洛威所舉辦的晚宴，以及其對於世界中共在個體的關愛，如何引入一種群體式、共在式，或關係即愛式的肯定性生命。
第四章則處理吳爾芙《燈塔行》小說中，所體現的第四種肯定性生命，本論文稱之為「非非人強度」。如此的非非人肯定性生命樣態，體現在小說中的五名角色––––藍奇夫人、畫家莉莉．布莉絲珂、以及共赴燈塔的三名藍奇家族成員––––的非非人化過程。本章將借用德勒茲與瓜達希對於「生成」一詞與藝術創作的哲學討論，以說明「非非人強度」此一概念的特質，以詮釋《燈塔行》所呈現的非非人肯定性生命。
喬伊斯與吳爾芙小說中所呈現的這四種肯定性生命，共構出一種現代主義中的幸福生命，一種幸福政治學。結論部分，則回顧此一政治生命的主要特色，藉此勾勒幸福政治學的判斷準則。
In my dissertation, I explore four kinds of bios or affirmative forms of being presented in the four novels of James Joyce and Virginia Woolf. In introduction, I explain my understanding of the term bios and speak of my purposes in conducting this study, including exploration of the correlation between art and life in modernism, of the reciprocation of philosophical and literary texts in the issue of bios, and of the possibility of developing affirmative bios as a coherent approach for modernist literature.
In Chapter I, I address Stephen Dedalus’s true self making in Joyce’s A Portrait of the Artist as a Young Man. It is the hero’s self-invention in truth that enables him to derive a true self of his own and to achieve a true form of living, which ultimately affirms his being. To clarify the role played by truth in Stephen’s self-formulation and how it leads to the affirmation of his life, I refer to Michel Foucault’s articulation of techniques of the self and such concepts as self-creation and true life.
In Chapter II, I deal with a second bios, known as a linguistic life of potentiality, enacted by Stephen in both Portrait and the “Proteus” chapter of Joyce’s Ulysses. The young man’s engagement in language as a medium of expression exposes him to the being of language as a potentiality and lends to his life another affirmative tonality. To elucidate how Stephen’s linguistic experience or employment brings about this result, I will review Giorgio Agamben’s conception of the term “potentiality” and its correlation to the mediality of language.
After that, I will move my focus onto Woolf’s Mrs. Dalloway and To the Lighthouse in Chapter III and Chapter IV, respectively. Mrs. Dalloway presents a third form of affirmative bios, a collective one named “relation as love.” In the novel, such a type of life is mobilized by its heroine Mrs. Clarissa Dalloway’s attentiveness to beings co-existing with her as well as by her party, both of which affirm the being of the heroine herself and that of others as well. To shed light upon the nature of this collective bios constituted in Mrs. Dalloway, I will draw from Jean-Luc Nancy’s revision of the Heideggerian ontology as a co-ontology of being-with and then reinvent the Nancyean co-ontology by the notion of relation as love, which is conceptualized in the chapter in tune with the ontological import of the two terms located in Heidegger’s philosophy.
Woolf’s Lighthouse touches upon a fourth kind of bios. This novel delineates the transfiguration of its five characters or figures—Mrs. Ramsay, Lily Briscoe, and the three Ramsays sharing the trip to the lighthouse—into an (im-)personal intensity, with the process of (im-)personalization informing their being with affirmativity. To expound the concept of (im-)personal intensity, I will borrow from Gilles Deleuze(’s) and Félix Guattari’s writings on becoming and art, in order to develop this idea as what elucidates the affirmation of being in Woolf’s Lighthouse.
These four kinds of bios together compose a bios-politics of modernism. For conclusion, I will review its key features and thereby come up with a measure of evaluating whether other works by Joyce and Woolf and by other writers also suggest a form of bios.
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