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研究生:蔡酉君
研究生(外文):Yu-chun Tsai
論文名稱:以撒.辛格<盧布林的魔術師>中象徵技巧的研究
論文名稱(外文):Symbolism in Isaac Bashevis Singer’s The Magician of Lublin
指導教授:廖本瑞廖本瑞引用關係
指導教授(外文):Pen-shui Liao
學位類別:碩士
校院名稱:國立高雄師範大學
系所名稱:英語學系
學門:人文學門
學類:外國語文學類
論文種類:學術論文
畢業學年度:96
語文別:英文
論文頁數:89
中文關鍵詞:象徵主義盧布林的魔術師以撒. 辛格鋼索
外文關鍵詞:SymbolismThe Magician of LublinIsaac Bashevis SingerThe tightrope
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本論文的研究目的是要檢視以撒‧辛格在《盧布林的魔術師》這一本小說中象徵技巧的使用。辛格是1978年諾貝爾文學獎得主,也是位偉大的意第緒語作家,他的作品主題常與東歐猶太民族的古老傳統、神秘主義、魔術,甚至許多低下階層的風俗習慣相關。此外,辛格尤以他細膩的象徵手法著稱,他常藉由精心設計的象徵網絡,向讀者傳遞深奧的人生哲理。
宗教信仰與世俗之間的擺盪是《盧布林的魔術師》一書中最為顯著的特色。主人翁亞夏‧梅熱是個以魔術師為業的猶太人,他巡迴各地表演,時常往返於家鄉盧布林和波蘭首都華沙兩地;同時,身為魔術師的他,四處與女人勾搭,悠遊於別人所羨慕的自由之中,直到他遭遇人生中最大的信心危機。辛格將主人翁的職業別設定為魔術師,是深具象徵意味的,因為魔術師的身份不僅是亞夏的謀生方式,更是他的私生活寫照。
本論文包括五章。第一章是緒論。除了簡介辛格的家庭背景,以瞭解他的寫作風格如何深受影響之外,這本小說的主旨以及象徵主義在文學作品中的重要性都一併呈現。第二章分析小說中主要地點的象徵意義。盧布林、皮耶斯克、以及華沙這三個地點分別呈現出不同程度的道德淪喪,而它們在亞夏的生活中也代表著不同的含意。第三章著眼於魔術師背後的象徵意義。從象徵手法來看,亞夏這個魔術師可以說是隻變色蜥蜴,也是個頂著多重面具的人。魔術師的身份讓亞夏總是在生活中扮演著不同角色,有不同的裝扮,過著淫亂的生活。第四章則致力於反覆出現的鋼索意象。除了實際的鋼索之外,亞夏更常受困於無形的鋼索上,進退兩難,因此小說中的鋼索是深具象徵手法的。第五章結論。總結本論文中所提及的地點、魔術師及鋼索的象徵意義,冀望不但能更深入瞭解辛格所要傳達的信息,也更能欣賞《盧布林的魔術師》中真正的意涵之所在。
Abstract
The thesis is intended to examine the application of symbols in Isaac Bashevis Singer’s The Magician of Lublin. Singer, winner of the 1978 Nobel Prize for Literature, is generally regarded as one of the greatest Yiddish writers. His East European Jewish heritage, magic, mysticism as well as peasant folk traditions are the common subject matter in his literary works. Besides, he is particularly renowned for his subtle use of symbolism. As a master at weaving a tangled web of symbols, Singer endeavors to convey the profoundest meanings to his readers.
In The Magician of Lublin, the oscillation between religion and worldliness accounts for all. The protagonist, Yasha Mazur, seesaws back and forth between Lublin and Warsaw as an itinerant magician. Meanwhile, he enjoys the total freedom of entangling himself with a variety of women until he is stricken by a crisis of conscience. Singer devises the protagonist’s profession with symbolic care, since being a magician characterizes not just his way of earning a living but also his extraordinary way of life.
This thesis consists of five chapters. In the first chapter, Isaac Bashevis Singer’s profile is portrayed to unveil the familial influence on Singer’s writing. Aside from that, the motifs in The Magician of Lublin and the significance of literary symbolism are fully discussed. In the second chapter, the hidden values of the main settings are analyzed respectively. Lublin, Piask and Warsaw not merely display different degrees of moral degradation, but also convey extremely varied meanings in Yasha’s life. Then Chapter Three focuses on the discussion of the magician symbol. Yasha the Magician is symbolically a chameleon, or a man of multiple faces. Being a magician allows Yasha to take on diverse roles, wear distinct disguises, and most importantly, lead promiscuous lives. The fourth chapter is devoted to the recurrent image of a tightrope. Apart from the real tightrope in the performances, Yasha is, more often than not, stuck on a virtual tightrope, being in a dilemma. Accordingly, the tightrope displays a profoundly symbolic significance in this novel. The fifth chapter is a conclusion. All symbols examined in this thesis are summed up in the hope of not only better understanding the ideas Singer intends to convey, but also further appreciating the essence of this great literary work.
TABLE OF CONTENTS
CHAPTER ONE Introduction ………………………………………1
The Profile of Isaac Bashevis Singer……………1
An Overview of The Magician of Lublin ………5
Justification of Studying Symbolism ……………8
CHAPTER TWO Settings as Symbols ………………19
Lublin ………………………………22
Warsaw ………………………………27
Piask …………………………………32
CHAPTER THREE The Magician as a Symbol …………36
The Magician as a Virtuoso of All Arts…………37
The Magician as a Womanizer …………………41
The Magician as a Pantheist …………………45
The Magician as a Thief ……………………………46
The Magician as a Penitent ……………………54
CHAPTER FOUR The Tightrope as a Symbol ………59
Different Guises of the Tightrope ……60
Symbolic Significance of the Tightrope .…………69
An Imagined Way to Get Rid of the Tightrope–Flying …70
The Tightrope Abandoned .……………………72
CHAPTER FIVE Conclusion …………………………………………78

Works Cited ……………………………………………………………………86
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