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研究生:鄒怡平
研究生(外文):Yi-Ping Tsou
論文名稱(外文):The Pleasure of the Work—Making Senses of Hsia Yü''s Poetry
指導教授:柏艾格
指導教授(外文):Steve Bradbury
學位類別:碩士
校院名稱:國立中央大學
系所名稱:英美語文學研究所
學門:人文學門
學類:外國語文學類
畢業學年度:97
語文別:英文
論文頁數:81
中文關鍵詞:悅讀反詮釋親密革命批評距離
外文關鍵詞:against interpretationintimate revoltcritical distance
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夏宇的作品向來是華文詩壇難以言詮的異數(藝術)。雖然學界與詩評家擅於運用各種風行的理論賞析其早期詩作,但面對她後期多元歧義曖昧開放(open-ended)的作品卻每每緘默不語,相對於眾多讀者以網路為平台對夏宇其人其詩的模仿挪用熱烈討論,甚或在生活中的竊竊私語熱愛相隨,批評家關鍵性的沉默便值得關注。本文即由此問題意識切入探討並提出夏宇的作品作為一種「反詮釋」的「親密革命」,不僅挑戰詩評剖析與套用理論的學術機制,更革新了我們閱讀詩的方式。
導論援引克莉絲蒂娃、桑塔格與羅蘭巴特的洞見並提出「作品的愉悅」(“pleasure of the work”)體現與書本親密接觸,回歸感官經驗而非追求終極意義或絕對真理的詮釋方式,探索閱(悅)讀夏宇詩作的種種可能。首章回顧詩評理論先行的解析對照不同讀者形形色色的回應,充份展現夏宇開放式的詩作不容評論家輕易掌握卻又百般誘惑我們從事詮釋的遊戲,鼓勵參與和作品互動百無禁忌。第二章經由模擬初次遭遇離經叛道的剪貼作品《●摩擦●無以名狀》的經驗,突顯閱讀夏宇不僅是解碼過程,書籍本身的物質形式和背景脈絡皆會形塑我們對文本的理解與體會。第三章呈現眾多讀者以網路為平台展演自己與夏宇作品的互動,響應夏宇親密革命,解放讀者不受意義至上的詮釋方式宰制,更積極邀請我們參與(再)創作。最後總結全文反思學術論述機制的限制,堅守「批判距離」(critical distance)以解析文本的閱讀方式往往忽視個人對作品感性(感官)的回應,反易導致誤讀。本文希冀提出一種貼近「情欲閱讀」(“erotics of reading”)的文學批評,不反對分析詮釋,但對其他參與作品的方式亦不妄加壓抑控制,讓所有閱讀方式並存無限可能。
Drawing on the insights of three Franco-phonic critics of the Generation of May ’68, Julia Kristeva, Susan Sontag, and Roland Barthes, I argue that Hsia Yü’s poetry is an intimate revolt against interpretation. By this, I mean her work is designed to undermine our compulsion to make sense, or what Jonathan Culler terms “epistemophilia”—the analytical drive to master the text in the sense of arriving at an interpretive closure that, in effect, writes off the richness and complexity of our engagement with the work in the eros of reading. In taking this approach, I help to explicate the discrepancy between the growing popularity of Hsia Yü’s work among those who read for pleasure and the virtual silence among critics and scholars in recent years.
In Chapter One, through a close reading of representative poems from her first two collections, I show that the semantic open-endedness of Hsia Yü’s work invites the play of interpretation but resists the scholarly drive to master the text in the sense of reaching interpretative closure. In Chapter Two, in a “walk-through” of Hsia Yü’s détourne volume ●摩擦●無以名狀[●Moca●Wuyimingzhuang], I demonstrate that Hsia Yü’s poetry invites us to engage the text in ways that remind us that reading is not just a decoding process and that the material form and context in which we encounter the text shapes the sense we make of it in “the pleasure and plenitude of the reading moment.” In Chapter Three, I present a wide variety of readers who use online platforms as virtual stages for what Barthes calls “writing aloud” to lay bare the nature of this intimate revolt, for Hsia Yü’s work not only liberates the readers from the compulsion to make sense but also transforms reading from a relatively passive act of consumption into a far more active engagement with the work as both a site and an incentive for actions that are not just transgressive but often creative. In concluding this thesis, I attend to what I call “A Scandal in Academia” to reflect upon our restraining discipline that reinforces a discourse of “critical distance,” which predisposes us to write off our complex and often intimate responses to the text, and hence may lead to a virtual oversight of the actual, material work in front of us. In hopes of remedying such critical neglect, this thesis puts forward a literary criticism that aspires to the condition of an erotics of reading, an unrepressed engagement that will not preclude analysis but will give voice and credence to the potentially infinite ways in which we can work the text and be worked in turn.
Abstract................................................i
Chinese Abstract........................................iiii
Acknowledgments.........................................iv
Introduction........................................... 1
CHAPTER ONE: Critical Compulsions: Making Sense of Hsia Yü’s Poetry..................................................12
CHAPTER TWO: The Rub of ●Moca●Wuyimingzhuang..........32
CHAPTER THREE: Hsia Yü’s Work of Intimate Revolt.......46
Conclusion: A Scandal in Academia.......................70
WORKS CITED.............................................76
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