臺灣博碩士論文加值系統

唐納德•巴塞爾姆(Donald Barthelme)為美國後現代主義小說作家，創作許多短篇小說，其作品敘述特色為超現實以及片段式描寫，一般小說中的完整、傳統敘述並不多。小說結構具顛覆性，創造出文本詮釋不確定性與開放性。本論文將從語言理解及應用的角度，以巴塞爾姆於《巴塞爾姆的60個故事》(Sixty Stories)中的短篇小說〈遊戲〉(Game)、〈無：初步的解釋〉(Nothing: A Preliminary Account)和短篇散文〈無所知〉(Not-Knowing)作為研究文本，探討其後現代主義風格敘述所展現出的語言遊戲。
本論文分為三部分。第一章以漢斯-格奧爾格•伽達默爾《真理與方法》中「戲」(play)的概念探討巴塞爾姆〈遊戲〉中文字符號與接收者之間的互動關係。第二章從馬丁•海德格《關於科技的問題》中用於探尋真理的方法，以及雅克•德希達〈人文科學論述中的結構、符號與遊戲〉中語言意義產生自延異的遊戲(play)概念探討巴塞爾姆〈無：初步的解釋〉中意義詮釋的無限延續性。第三章則藉由閱讀路德維希•維根斯坦《哲學研究》中論及語言意義的理解即其應用概念，討論巴塞爾姆於短篇散文〈無所知〉中所傳達作者應用寫作方式，使讀者閱讀時對已知/未知事物產生關注，並且在閱讀過程中以新的方式思考和理解。應用伽達默爾理論閱讀巴塞爾姆的寫作，能看到讀者藉由閱讀文本參與了語言遊戲，同時讀者依據自身生活經驗與認知而展演個人的文本詮釋；而在德希達的解構主義觀點下閱讀，則彰顯作者於文本中運用文字結構的遊戲性創造出不同的敘述、詮釋關係。最後由伽達默爾和維根斯坦理論觀點討論意義詮釋與語境關係，點出巴塞爾姆筆下語言遊戲的應用與理解所展現的文本詮釋開放性。文學與藝術作為連結個人與生活的媒介，呈現作者對已知/未知事物的理解，同時作品本身也將影響他人對已知/未知事物的理解。

Donald Barthelme as an American Postmodernist writer wrote a great many concise short fictions in a surreal and fragmentary narrative. His writing style makes the uncertainty and openness of textual interpretation, and he created a new form of fiction which breaks with traditional narrative by its incompleteness and openness to play. This thesis aims to discuss the postmodernist play of understanding in Barthelme’s postmodern writings specifically in his two short fictions (collected in Sixty Stories) “Game,” “Nothing: A Preliminary Account,” and his creative essay “Not-Knowing.”
My thesis is divided into three parts. The first chapter tries to discuss the interrelationship between signs and the receiver of signs in Barthelme’s “Game” through Hans-Georg Gadamer’s idea of play in Truth and Method. In Chapter Two, the limitless continuity in the interpretation of signs in “Nothing: A Preliminary Account” will be discussed by my readings of Martin Heidegger’s arguments concerned with the way to look for the essence of truth in “The Question Concerning Technology” and Jacques Derrida’s idea of play in “Structure, Sign and Play in the Discourse of the Human Sciences.” Chapter Three tries to discuss the writer’s writing as the application of verbal play has great effect upon readers, and it makes readers notice something “not-knowing” and bring a new way of understanding while reading.
Reading Barthelme’s writing by the application of Gadamer’s theory surely reveals the position that readers participate in the story’s “horizons” by reading and developing readers’ own explanation of text. However, reading Barthelme’s works are also read from Derrida’s deconstructive perspective, it shows Barthelme’s manipulation of words and structure to create different form of narrative and word-meaning relationship. The play of signs is the way how the writer presents the game to the readers through writing. However, what the writer writes are things s/he encounters in the world, the knowledge obtained from life experiences through various “play.” When readers read the text, they join the play in the writer’s work. After all, through the application of words, do people play in signs, or they are actually “played”? Through Gadamer’s and Wittgenstein’s ideas emphasis on the relationship between the meaning of words and the social context, the openness of textual interpretation demonstrated by the writer-reader relationship between the understanding and the application of language in Barthelme’s narrative is discussed. Literature and art as the mediation between one and one’s life, presents the author’s understanding of things already known or unknown, and it also have great effect on other people’s understanding of things known/unknown.

I. Chinese Abstract i
II. English Abstract ii
III. Table of Contents iv
IV. Introduction 1
A. Barthelme and Postmodernist Literature 1
B. The Relation of Barthelme’s Narrative to Modernism and Surrealism 5
V. Chapter One “Game” and Play, Play the Game 13
A. What is “Play”? 17
B. What is a “Game”? 18
C. Conclusion: the Work of the Reader 30
VI. Chapter Two Know Nothing: The Truth is “Not” What You Think 32
A. What is “Nothing”? 32
B. Conclusion: the Play of Signifiers 48
VII. Chapter Three “Not-Knowing”: Play vs. Played 51
A. What is “Not-Knowing”? 52
B. Language and Life, Arts and the World 69
C. Conclusion: the Word and the World 78
VIII. Conclusion 81
Bibliography 88

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