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研究生:周盈秀
研究生(外文):Ying-Hsiu Chou
論文名稱:艾德.麥可班恩《莎迪她死時》中對偵探寫實主義之後現代實驗
論文名稱(外文):Ed McBain’s Postmodernist Experiment with Detective Realism in Sadie When She Died
指導教授:羅林羅林引用關係
指導教授(外文):J. B. Rollins
口試委員:張淑麗游文嘉羅林
口試委員(外文):Shuli ChangWenjia YouJ. B. Rollins
口試日期:2011-06-10
學位類別:碩士
校院名稱:國立中正大學
系所名稱:外國語文研究所
學門:人文學門
學類:外國語文學類
論文種類:學術論文
論文出版年:2011
畢業學年度:99
語文別:英文
論文頁數:89
中文關鍵詞:艾德.麥可班恩馬克.吐溫柯南.道爾埃德加.艾倫坡後現代主義警察辦案小說偵探寫實主義
外文關鍵詞:Ed McBainArthur Conan DoyleMark TwainEdgar Allan Poepostmodernismpolice proceduraldetective realism
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  以弗迪南.德.索緒爾的語言學與賈克.德希達的解構為基礎,本論文探討艾德.麥可班恩《莎迪她死時》中對偵探寫實主義之後現代實驗。第一章偵探小說始自埃德加.艾倫坡的《杜邦三部曲》,經柯南.道爾的《福爾摩斯探案系列》,至馬克.吐溫的《傻瓜威爾遜》時,推理遊戲成為一場智力競賽,偵探與讀者可根據小說內的客觀線索進行邏輯思考並解謎破案,是唯一堅持「分析事實,還原真相」的小說類型,正與寫實主義所主張之「反映事實,再現真相」不謀而合,在理性主義的催化與科學革命的背景下,偵探小說向寫實主義傾斜,發展出「偵探寫實主義」。艾德.麥可班恩的《第八十七分局系列》正是偵探寫實主義下的終極產物,小說中採用現實生活中的警察辦案程序,訂定了警察辦案小說守則。在《莎迪她死時》一書中,艾德.麥可班恩引進後現代主義,對偵探寫實主義進行實驗,在挖掘文字建構現實之潛力,將偵探寫實主義發展到至極的同時;亦曝光語言重建現實之極限,解構偵探小說中的「官方說法」──唯一真相不再存在,取而代之的是多元並立的眾聲喧嘩,為偵探小說之創作與閱讀帶來新的可能。
  Ed McBain’s Sadie When She Died was published in 1972 when the skepticism of the sixties and seventies toward “official stories” manifested itself in structuralist and post-structuralist anxiety about the limits of language. Based in part on Ferdinand de Saussure’s linguistics and Jacques Derrida’s deconstruction, this thesis explores McBain’s special form of detective realism in this “postmodernist” detective novel as not only a continuation of but also a break from preceding detective realism.
  Chapter One surveys Edgar Allan Poe’s mix of romanticism and rationalism in the Dupin trilogy (1841-45), Arthur Conan Doyle’s humanization of the detective and his adoption of the scientific method in the Sherlock Holmes stories (1887-1927), and Mark Twain’s commonization of the detective and his application of forensic science in Pudd’nhead Wilson (1894). The chapter then introduces McBain’s combination of real-life police procedures and the fictitious city in the 87th Precinct series (1956-2005) in which he advances Poe’s, Doyle’s, and Twain’s realistic detective techniques while simultaneously calling into question their insistence on dealing with “facts” as “objective truth.”
  Chapter Two studies how McBain examines the capacity of language to represent “reality” so as to investigate the feasibility of detective realism in Sadie When She Died. In this detective language game, he pushes and thus reveals the limits of language in representing life by exposing gaps in language, the instability of meaning, and lack of communication between individuals. Further, he questions the nature of “reality” and thus interrogates the existence of “objective truth” by indicating that the impact of extrasensory experience can shatter the illusion of physical evidence, that one “fact” can be tagged with conflicting labels by diverse individuals, that “reality” can be viewed from infinitely varying perspectives, and that human beings are constantly in the process of becoming different.
  By playing with the detective genre through excavating the potentialities of language and undermining the linguistic foundation of mimesis, McBain’s postmodernist experiment with detective realism in Sadie When She Died shows the limits of language and the unknowability of “objective truth,” setting a new trajectory for detective realism.
Introduction 1
The Detective Story: From Realism to Postmodernism

Chapter One 11
Detective Realism: From Edgar Allan Poe, Arthur Conan Doyle, Mark Twain to Ed McBain

Chapter Two 41
Ed McBain’s Postmodernist Experiment with Detective Realism in Sadie When She Died

Conclusion 71
The Turning Point of Detective Realism

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