臺灣博碩士論文加值系統

本論文旨在探討吳爾夫 << 燈塔行 >> 一書中的空間型式, 依序為: (一)
由人的知覺透過回憶, 冥想而形成的存在的空間 (二)以描述大自然 (二)
以描述大自然的力量所呈現的空間 (三)以敘述技巧突破小說直線敘限制
而以讀者感知所呈現的空間.本文共分五章, 笫一章為引言, 說明研究動
機和研究方法. 傳統批評的看法是以為文學以線性的文字作媒介, 並不像
雕塑, 繪畫適合處理共時性的物體和空間. 但其實在小說所營造的世界,
時,空是不可或缺的要素.小說中的空間依作家處理手法不同, 而有不同的
功用; 有的只是事件發生的地點, 有的空間則影射作品蘊涵的意義. 本論
文處理的空間屬於後者. << 燈塔行 >>一如吳爾夫其他主要的作品, 以意
識流的表現見長, 著重人物內心意識的流動刻畫, 因此用現象學回歸意識
的方法研究. 另外, 意識流小說特殊的敘述技巧則以空間型式理論研究
之. 吳爾夫一向在作品中對 "生" 和 "死" 的冥思將透過 << 燈塔行
>>的空間分析而得以闡述.第二章藉由胡賽爾和梅洛龐蒂的現象理論觀
點, 討論人作為知覺的主體如何感知外在世界; 而外在世界應者主體知覺
的轉變, 以怎樣相應的面貌呈現在主體之前. 人所感受的空間, 其實包含
了個人的回憶, 情緒, 和對生死的沉思.笫三章以巴舍拉的 << 空間詩學
>> 為基礎, 分析小說的笫二部份中那人去樓空的房子和自然力量的更替
如何呈現空間. 抽象的空間不僅因四和日夜的循環而有不同的面貌, 也透
過萬象的變化影射人的苦難和大戰的事實.笫四章以法蘭克的空間型式理
論為基點, 討論此部小說在敘事技巧及整體結構上怎樣突破線性敘述的瓶
頸, 以前後文指涉, 和類似電影 "平行剪輯" 手法的來回交相敘述所呈現
的空間感. 此種空間型式強調由讀者在歷時的閱讀中感受到定時的意象及
領悟而產生.笫五章為結論. 不論是由人物內心的意識,知覺所呈現的存在
的空間;是大自然的空間力量所呈現的空間力量; 或是以敘事技巧和讀者
感知所產生的空間; 此三種空間皆顯現出 << 燈塔行 >> 的敘事特點是重
描述( description),而輕敘事(narration). 通常傳統小說以敘事為主,
重故事的直線性推進. 而現代小說傾向於主題形呈現環狀描述來加以討
論,剖析,因此也較適合表現意識, 沉思和空間的舖陳. 論文最後也以時空
的緊密交錯總結.

This thesis attempts to explore space in terms of the
consciousness, of the presentation of space-forces, and of
narrative techniques. First of all, the space explored in this
thesis is created out of the characters' consciousness as it
interacts with the immediate surroundings, a process described
with particular clarity in Husserl's and Merleau-Ponty's
phenomenology. This existential space actually reflects man's
memory, his emotions and his mediatation on life and death.
Second, the temporalized sense of space is created out of the
presentation of space-forces and the deserted summer house
during the ten years in Part II, "Time Passes." The various
forms of space force are studied in terms of night and silence.
In addition, the house is studied in terms of its resistance to
the damaging forces in nature and of its solitude. Gaston
Bachelard's"The Poetics of Space" provides a basis for this
analysis. Third, the sense of space is also derived from
narrative techniques that violate the temporal flow of linear
narrative and that create the effect of simultaneity. The idea
of spatial form in Joseph Frank's theory will be used as a
basis for this analysis. The apprehension of spatial form in
the novel has a close relationship with the readers'
perception, in which the juxtaposed images and the cross-
cutting narratives are sythesized and transformed into a
perception of space. The creation of these three kinds of space
in "To the lighthouse " is closely connected with narrative
representation of space because it tends to describe objects
and beings in their simultaneity rather than presenting a
sequence of events in a chronological order, a function
reserved for narration. This thesis is also concluded with a
review of the relationship between the temporal elements and
the spatial perception.