臺灣博碩士論文加值系統

小說寫作在各方面已劇烈地被挑戰，和後現在主義發展有緊密地關係。後現在主義開始普及整個西方文化，包括藝術、建築、文學、舞蹈、音樂、歷史、哲學和宗教。詹明信在他的論文〈後現在主義，或後資本主義之文化邏輯〉答辯說，「雜匯是後現在主義最適當的代表。」這個極佳說法直接敘述到在文學作品內有某樣東西，如同拼湊畫。這說明了無論在藝術、歷史、建築、舞蹈、音樂或文學領域，所有的現象皆可拼湊、再湊合、再製造與再呈現至另一種新的形式，就像拼湊畫一樣。這代表了在小說表面上，事務在文學作品可以成為拼湊關係且藝術作品產生。對我來說，小說的拼湊關係及小說的藝術為相當重要的線索，可做為我探討巴徹美《死亡父親》中身體之符號學和美學研究。本論文旨在探討巴徹美如何使用符號學和解構策略來呈現出藝術作品，以及巴徹美如何在《死亡父親》中處理語言媒介和呈現問題，同時，討論巴徹美的解構策略與多元呈現的可能性。 除此之外，巴徹美個人對寫作，對生活，與對小說中藝術，將密切地牽連到我的主要論點，那就是小說世界中的拼湊關係。藉由心理方面的分析，巴徹美如何在父子之間的矛盾關係做處理，有意義地暗指文學父親與文本兒子之關聯。我選這本小說《死亡父親》主要是因為它有極豐富的內容形式、特別的指示，以及巴徹美本身對小說藝術的論述。
此論文共分五章。首章主在介紹巴徹美的生平寫作與縱覽各批評家對巴徹美《死亡父親》之看法；第二章針對克蒂思娃的符號學和後設小說對小說本的探討論與呈現議題為論文中最主要的支持論點；第三章將揭示死亡父親的身體，展現的不只是他肉體的部分，同時也有討論他和語言的關係，更者，研究巴徹美在設計主要的主角死亡父親之隱含；第四章藉由克蒂思娃文本的互為文本性與布倫的心理焦慮，分析文本本身的身體，同時，專注在父子關係，緊連著文學父親與文本兒子關係之研究；論文最後一章將說明在小說中借用符號學和解構策略可成為一種藝術品，就如同巴徹美本身主張：「藝術本身不是關於某樣東西，而是某樣東西。」正確來說，文學作品只是一件藝術。

Novel-writing has been radically challenged in various aspects closely related to the development of postmodernism. Postmodernism has permeated the whole Western culture, including art, architecture, literature, dancing, musing, history, philosophy, and religion. Fredric R. Jameson in his essay, “Postmodernism, or the Culture Logic of Late Capitalism,” argues that pastiche is the appropriate mode of postmodernist culture (New Left Review 146). This is an excellent point for directly proclaiming something collage-like, is “in” or “is” the literary work. Materials can be collaged, remixed, reproduced, and represented into another realm of a fresh form, like collage. That means in the literary work can be a collage. This is also an important clue for me to discuss semiotics and aesthetics of the body in Donald Barthelme’s The Dead Father. My main focus in this thesis is on how Donald Barthelme employs semiotics and deconstructive stratagems to produce an aesthetic construct and how he deals with the medium of language and the problem of representation in The Dead Father. A discussion of Donald Barthelme’s deconstructive stratagems, as well as a discussion of the possibilities of multiple representation and referencing is provided. Besides, his visions of writing, of life, and of aesthetics in the fictional world are closely associated to my primary discussion on the relationship of this work to the world of fiction. Also treated is how Barthelme copes with, by means of the psychological perspective, the ambivalent relationship between father and son.
This thesis is divided into five chapters. In my first chapter of my thesis, I give an introduction to Donald Barthelme’s life-writing. In the second part of my thesis, Julia Kristeva’s concept of semiotics and metafiction, the issue of representation, are introduced as the major point of the thesis. The “bodily” aspect of the novel, including the language’s body, the Dead Father’s body, and the text’s body itself are discussed. In the third part of my thesis, I give attention to the Dead Father’s body, discussing not only the character’s bodily aspect but also his status as one who “places” himself within language. In the fourth chapter of the thesis, an analysis of the text’s body is demonstrated by means of Julia Kristeva’s concept of “intertextuality” and shown Harold Bloom’s psychological perspective of author anxiety. At the same time, I focus on the relation between father and son, the literary father and the textual son are closely linked. In conclusion, the semiotic and deconstructive strategies in the fiction provide an artistic work. For the reader, the literary work is a piece of art, employing multiple representations and representationality as of a collage. The work is an idiosyncratic aesthetic construct placed in the history of fiction in the world.

Table of Contents
Chinese Abstract…………………………………………………… i
English Abstract…………………………………………………… iii
Acknowledgements………………………………………………… v
Chapter One: Introduction …………………………………… 1
An Overview of Critical Commentaries
on Donald Barthelme’s The Dead Father…… 4
Chapter Two: Language’s Body in The Dead Father………… 26
Chapter Three: The Dead Father’s Body in The Dead Father…53
Chapter Four: Text’s Body in The Dead Father…………………71
Chapter Five: Conclusion………………………………………… 96
Works Cited………………………………………………………… 101

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