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研究生:甯大衛
研究生(外文):Dawid Maritz Nel
論文名稱:凝視之外:特蕾西 • 舍瓦利耶《戴珍珠耳環少女》之敘事補述
論文名稱(外文):Beyond the Gaze: Narrative Supplementation in Tracy Chevalier's Girl with a Pearl Earring
指導教授:李翠玉李翠玉引用關係
指導教授(外文):Jade, Lee
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
論文出版年:2015
畢業學年度:103
語文別:英文
論文頁數:109
中文關鍵詞:凝視形象敘事認可客觀竄改物質化
外文關鍵詞:GazeImageNarrativeRecognitionObjectificationInterpellationSubjectivity
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中文摘要
特蕾西·之作品多取材西方藝術經典,常於經典之作中加入個人具浪漫色彩之想像。以一九九九年
年所著小說《戴珍珠耳環少女》為例,對凝視主題之隱喻多所著墨。她在書中所展現之凝視母題,不言
可喻。尤有甚者,舍瓦利耶透過凝少女葛里葉的凝視之描寫,亦顯現女性對「知」之渴望。
舍瓦利耶構想這部小說是因作者被維梅爾著名的同名畫作中的主角的凝視所打動。小說家舍瓦利
耶透過畫家維梅爾之角度,想像作畫者的背後之故事。儘管,歷史上並無此紀錄,然而,作家與畫家及
畫中少女之直接凝視,小說家創造葛里葉的凝視,也開展《戴珍珠耳環少女》之敘述。
無獨有偶,寶林·摩瑞亦論述凝視主題,並討論凝視之特性及問題。摩瑞聲稱,客觀而言,葛里葉
透過維梅爾的眼光被觀看時,正是自我客體化及主體化之矛盾共⬀。本論文試就以下問題探析。單就凝
視之主題,討論客體化及主體化之關係時,舍瓦利耶之位置是否為敘事策略,以強化此一弔詭關係?凝
視,可能只是自我意識的初期萌芽,不足以引入更全面之女性自我認知;對此主題之認識,還需更多補
述,恰是舍瓦利耶作品可提供吾人檢視者。本論文強調舍瓦利耶利用敘事策略,直指無聲描述中凝視之
不足及不切實際。本論文將凝視視為無聲的誘惑,透過誘惑將其自我客體化,顯現一般社會中對性別平
等問題之奮力追求。
Abstract
Given Tracy Chevaliers' focus on Western art, especially that of the Classic and Romantic periods,
it should come as no surprise that her books lay out, to a fair extent, the trope of the gaze. But more
than this, it also is a testament to the female desire to “know”. Her 1999 novel Girl with the Pearl Earring
is centered on the gaze, in fact, the entire book is an explication built on the gaze of The Girl
(Griet), who in how she looks (at Vermeer), gave Chevalier a certain empathetic notion that there was a
story behind the painting, one not recorded in the annals of history, but nevertheless circumstantially
there, in the plain sight of (Griet's) sight. That is to say, the gaze is the starting point for the entire development
of Girl with a Pearl Earring. The way Chevalier conceived this novel is as a result of a gaze that
penetrated her from Vermeer's famous painting of the same title as she was gazing at it.
This theme has not escaped at least one critic, Pauline Morel, who has outlined gazing within her
novel, showcasing its virtues and its problems for Griet. Morel states, rather enigmatically, that the problems
of objectification notwithstanding, Griet manages to “encounter her own subjectivity” through Vermeer's
gaze upon her.
Is Chevalier's position in this novel, purely the explication of the gaze, illustrating its dubious
position, or does she also provide a strategy, to enhance it? The gaze, though it might be the nascent germinal
point of self- consciousness, is not enough to bring forth recognition for the female. It requires a
specific sort of supplementation; one that Chevalier is able to provide. This thesis argues that Chevalier
uses a narrative strategy to supplement the gaze and offset its impracticality--which is exactly in the act
of stilling the voice by its depiction.
iii
The didactic element of the novel is simply that the gaze is a seduction to voicelessness--the seduction
being that it is enough to render subjectivity, bequeathing a false sense of struggle that cannot
compel the social vision of gender equality.

Table of Contents
Chapter One: Introduction: A Preamble to the Gaze …………………………...…1
I. A Struggle for Recognition that Unhinges the Self ………………………..12
II. Approaching the Female Gaze…………..………………………………...21
Chapter Two: Looking for Recognition…………………………………………..31
I. The Girl who Desires to See and Be Seen……………………………35
Chapter Three: Home Economics: The Subject Rendering Function of
Griet’s Interpellation……………………………………………………………....54
Chapter Four: The Image, the Limitation of the Gaze and the
Importance of the Voice ..........................................................................................66
Chapter Five: Conclusion: Articulating the Gaze through
Narrative Supplementation of the Image.................................................................. 92
Notes .........................................................................................................................99
Works Cited ...........................................................................................................101
Appendix A: Johannes Vermeer’s Girl with a Pearl Earring………………….…108
Appendix B: Hans Holbein’s The Ambassadors………………………......……...109
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