臺灣博碩士論文加值系統

本研究以電影現象學「活歷身體」為概念，旨在分析蘇聯導演塔可夫斯基影像上電影主體與觀者主體共構的身體經驗，探問「非思」之思的思考活動。這麼做的原因，起先是為了對抗德勒茲在塔可夫斯基影像上僅看見潛在與實際共存的晶體現象，需先釐清的是，本研究不否認德勒茲的觀察，但德勒茲偏好的當代影像，多是描繪創傷、口吃、失語等，然而，塔可夫斯基的角色卻是歷經身體創傷後，總能得以通過某種藝術性手法，獲得療癒，使得角色的身體不再平凡，變得神秘又神聖。本研究重新闡述塔可夫斯基影像，先是提出「日常身體」與「帶傷身體」，為的是處理身體的日常行動、姿態、傷口和口語障礙等與具身化經驗的締結，接著，通過身體可乘載悖論概念的特性，說明塔可夫斯基影像不只是潛在與實際的共存，同時也存在神性與人性相互滲透的過程，反映了導演所屬的俄羅斯東正教文化。最後，本研究提出塔可夫斯基影像存在著：「漫遊與信仰追尋」、「創傷與療癒」、「困境與再生」等蘊含差異的具身化思考，這是塔可夫斯基的影像風格，另一方面，也表達出生命與時間持續向上盤旋的詮釋迴圈運動。

The study aims to investigate the embodied subjectivity and the unthought-of thought in Russian director Andrei Takovsky’s images through the concept of “the lived body” from film phenomenology as it implicates the embodied source between the film’s body and the spectator’s body. The initial idea is to resist Deleuze, who only sees the crystal-image of the indiscernibility between virtuality and reality in Tarkovsky’s images. This study does not reject Deleuze’s arguments, but clarifies that the modern images that mostly attracted Deleuze were experiences depicting trauma, like wounds, stammering, or muteness. Tarkovsky’s characters also endure great suffering. This study raises the discussion of “the ordinary body” and “the wounded body” to reveal the embodied experiences through banal actions, gestures, wounds, and speech impediments. However, as the narrative progresses, art is disclosed as a remedy to heal the physical disabilities, which makes their bodies no longer ordinary, but mysterious and sacred. Similar to the paradoxical nature within bodies, the situation surrounding the images not only shows the co-existence of virtuality and reality but also represents the unity of humanity and divinity in one person, reflecting the director’s own culture based on Russian Orthodox Christianity. Finally, the heterogeneities are significant to Tarkovsky’s images and are part of the embodied experiences. The study proposes three arguments, “the wandering within the pilgrimage,” “the wound within the remedy,’ and “the dilemma within the rebirth.” These are Tarkovsky’s distinctions, and the proceedings of reconcilement indicate that the narratives are as our life and time spiraling up into a healthy hermeneutic circle.

摘要 i

第一章 緒論 1
1.1 研究動機與目的 1
1.2 研究範圍與七部電影簡介 3
1.3 文獻回顧：塔可夫斯基影像研究發展概述 10

第二章 研究方法 19
2.1 以活歷身體為基礎的電影現象學 19
2.2 電影現象學與其他電影論述的差異 21
2.3 以身體影像為路徑 24
2.4 研究架構 31

第三章 日常身體：漫走的解域和俄羅斯傳統下的生命歷程 33
3.1 活生生的真實美學 33
3.2 作用在日常身體上的時間 36
3.3 不斷移動、漫走 38
3.4 認同敘事的移動：「是」信仰追尋者，「不是」漫遊者 46
3.5 小結 50

第四章 帶傷身體：視聲影像的極度化 52
4.1 不斷與現實環境搏鬥的帶傷者 52
4.2 從身體表層的傷口到肉身概念 58
4.3 話語行動的障礙與癒合 61
4.4 複製基督身體與新概念的創造 67
4.5 小結 69

第五章 反理性身體：影像本體論的辯證
71
5.1 作用在身體上的悖論概念 71
5.2 潛在與實際的交替與共存 78
5.3 道成肉身的模仿與辯證 82
5.4 觀者參與：漸次捲入的電影經驗 86
5.5 小結 90

第六章 結論 92

引用書目 98

一、中文書目
Baecque, Antonie de（貝克）著，方爾平譯。2011。《安德烈‧塔可夫斯基》（Andrei Tarkovski）。北京：北京大學出版社。
Barthes, Roland（巴特）著，許綺玲譯。1995。《明室：攝影札記》（Camera Lucida: Reflections on Photography）。台北：台灣攝影。
Bazin, André（巴贊）著，崔君衍譯。1995。《電影是什麼？》（What is Cinema?）。台北：遠流。
Bergson, Henri（柏格森）著，姚晶晶譯。2013。《物質與記憶》（Matter and Memory）。合肥：安徽人民出版社。
Bogue, Ronald（博格）著，李育霖、邱漢平、涂銘宏、陳佩筠、林宛瑄譯。2016。《德勒茲論音樂、繪畫與藝術》（Deleuze on Music, Painting and the Arts）。台北：麥田。
Bordwell, David（波德維爾）著，游惠貞譯。1995。《開創的電影語言—艾森斯坦的風格與詩學》（The Cinema of Eisenstein）台北：遠流。
Carbone, Mauro（卡波內）著，曲曉蕊譯。2016。《圖像的肉身：在繪畫與電影之間》（La chair des images: Merleau-Ponty entre peinture et cinéma）。上海：華東師範大學出版社。
Deleuze, Gilles（德勒茲）著，黃建宏譯。2003a。《電影I：運動—影像》(Cinema I: The Movement-Image)。台北：遠流。
——，黃建宏譯。2003b。《電影II：時間—影像》(Cinema II: The Time-Image)。台北：遠流。
——，董強譯。2011。《弗蘭西斯‧培根：感覺的邏輯》（Francis Bacon: The Logic of Sensation）。桂林：廣西師範大學出版社。
——，楊凱麟譯。2012。《德勒茲論傅柯》(Foucault)。台北：麥田。
Didi-Huberman, Georges（迪迪于貝爾曼）著，陳元譯。2015。《在圖像面前》（Confronting Images: Questioning the Ends of a Certain History of Art）。長沙：湖南美術出版社。
Lossky, Vladimir（洛斯基）著，楊德友譯。1997。《東正教神學導論》（Orthodx Theology: An Introduction）。香港：漢語基督教文化研究所。
Merleau-Ponty, Maurice（梅洛龐蒂）著，姜志輝譯。2001。《知覺現象學》（Phenomenology of Perception）。北京：商務印書館。
——，龔卓軍譯。2012。《眼與心》（L’Œil et l’Esprit）。台北：典藏。
Sokolowski, Robert（索科羅斯基）著，李維倫譯。2010。《現象學十四講》（Introduction to Phenomenology）。台北：心靈工坊。
Sutton, Damian & Martin-Jones, David（薩頓和馬丁瓊斯）著，林何譯。2016。《德勒茲眼中的藝術》（Deleuze Reframed: Interpreting Key Thinkers for the Arts）。重慶：重慶大學出版社。
Tarkovsky, Andrei（塔可夫斯基）著，陳麗貴、李泳泉譯。1994。《雕刻時光》(Sculpting in Time: Reflections on the Cinema)。台北：萬象圖書。
——，周成林譯。2009。《時光中的時光：塔可夫斯基日記（1970~1986）》（Time within Time by Andrey Tarkovsky）。桂林：廣西師範大學。
Thompson, Eva著，楊德友譯。2015。《理解俄國：俄國文化中的聖愚》（Understanding Russia: The Holy Fool in Russian Culture）。南京：譯林。
Turovskaya, Maya著，邱芳莉、邱怡君譯。1996。《時空的軌跡—塔可夫斯基的世界》(Tarkovsky: Cinema as Poetry)。台北：遠流。
——，李寶強譯。2002。《七部半—塔爾科夫斯基的電影世界》，李寶強編譯。北京：中國電影出版社。頁210-230。
余德慧。2011。《詮釋現象心理學》。台北：心靈工坊。
林松輝。2016。《蔡明亮與緩慢電影》。台北。國立臺灣大學出版社。
吳欣怡、賴雯淑（通訊作者）。2013。＜論雪潤‧內夏特作品中的三重隱喻：以其劇情電影“Women Without Men”為探究起點＞。《藝術評論》第25期。頁125-159。台北：國立臺北藝術大學出版。
陳瑞文。2011。＜德勒茲創造理論的非人稱與非人稱性＞。《國立政治大學哲學學報》第25期。頁1-45。
張冬梅。2009。《俄羅斯民族世界圖景中的文化觀念“家園”和“道路”》。哈爾濱：黑龍江人民出版社。
張靄珠。2013。＜蔡明亮電影的廢墟、身體、與時間－影像：析論《天邊一朵雲》、《你那邊幾點》及《黑眼圈》＞《中外文學》第42卷第4期。頁79-116。
熊宗慧。2012。＜塔可夫斯基的《鏡子》：失語和詩語＞。《俄語學報》第19期。頁111-127。
熊宗慧。2014。＜往房間的旅程：塔可夫斯基《潛行者》中的時空體＞。《中外文學》第43卷，第4期。頁95-131。
劉紀蕙。2004。＜現代性的精神形式：有關心的變異＞。《中外文學》第32卷，第11期。頁164-192。
賴雯淑。2011a。＜論安德烈‧塔可夫斯基的電影《伊凡的少年時代》中的時間性＞。《「洞」見：視覺文化與美學》專書合輯。台北：書林。頁242-266。
——、許雯婷，2011b，〈詮釋取徑之藝術研究方法〉。《藝術教育研究》，第22期，頁109-145 。
羅貴祥。1997。《德勒茲》。台北：東大。
龔卓軍。2010。《身體部署：梅洛龐蒂與現象學之後》。台北：心靈工坊。

二、外文書目
Andrew, Dudley. 1985. “The Neglected Tradition of Phenomenology in Film Theory,” Movies and Methods, vol. 2. Edited by Bill Nichols. Berkeley: University of California Press.
Bakhtin, Mikhail. 1994. The Dialogic Imagination Four Essays. Edited by Michael Holquist. Translated by Carl Emerson and Michael Holquist. TX: University of Texas Press.
Barker, Jennifer M.. 2009. The Tactile Eye: Touch and the Cinematic Experience. CA: University of California Press.
Bataille, Georges. 1990. “Hegel, Death and Sacrifice,” Yale French Studies, “On Bataille.” Edited by Allan Stoekl. CT: Yale University Press. 78: 9-28.
——. 1993.Visions of Excess: Selected Writings, 1927-1939. Edited by Allan Stoekl. Trans. Allan Stoekl. MN: University of Minnesota.
Bazin, André. 2004a.What is Cinema? Vol. 1. CA: University of California Press.
Bazin, André. 2004b.What is Cinema? Vol. 2. CA: University of California Press.
Beasley-Murray, Jon. 1997. “Whatever Happened to Neorealism? – Bazin, Deleuze, and Tarkovsky’s Long Take,” Gilles Deleuze, Philosopher of Cinema. Edited by D.N. Rodowick. IA: The University of Iowa. pp. 37-52.
Berdyaev, Nicolas. 1992. The Russian Idea. Translated from Russian by R.M. French. NY: Lindisfarne Press.
Bergson, Henri. 1991. Matter and Memory. Translated from French by Nancy Margaret Paul and W. Scott Palmer. NY: Zone Books.
Bird, Robert. 2004. Andrei Rublev. LDN: The British Film Institute.
——. 2008. Andrei Tarkovsky: Elements of Cinema. LDN: Reaktion Books, Ltd.
Burlyaev, N. 1990. “One Out of All-for All-against All!,“ About Andrei Tarkovsky. Translated from the Russian by Paula Garb. Edited by Marina Tarkovskaya. Moscow: Progress Publishers. pp. 70-88.
Charney, Leo. 1998. Empty Moments: Cinema, Modernity, Drift. NC: Duke University Press.
Chion, Michel. 1994. Audio-Vision: Sound in Screen. NYC: Columbia University Press.
Christie, Ian. 2006. “Against Interpretation: An Interview with Andrei Tarkovsky,” Andrei Tarkovsky: Interviews. Edited by Gianvito. MS: University Press of Mississippi. pp. 63-69.
Deleuze, Gilles. 1986. Cinema 1: The Movement-Image. Translated from French by Hugh Tomlinson and Barbara Habberjam. MN: University of Minnesota Press.
——. 1989. Cinema 2: The Time-Image. Translated from French by Hugh Tomlinson and Robert Galeta. MN: University of Minnesota Press.
——. 1993. The Fold: Leibniz and the Baroque. Translated from French by Tom Conley. MN: University of Minnesota Press.
——. 2003c. Francis Bacon: The Logic of Sensation. Translated from French by Daniel W. Smith. Afterword by Tom Conley. MN: University of Minnesota Press.
——&Guattari, Félix. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. Translated from French by Brian Massumi. MN: University of Minnesota.
Deltcheva, Rouiana and Eduard Vlasov.1997. “Back to the House II: On the Chronotopic and Ideological Reinterpretation of Lem's Solaris in Tarkovsky’s Film,” Russian Review 56(4): 532-549.
Efird, Robert. 2009. “Dreams, mirrors and subjective filtration in Ivan's Childhood,” Studies in Russian and Soviet Cinema. UK: Taylor & Francis. 3(3): 289-308.
——. 2014. “The Holy Fool in Late Tarkovsky,” Journal of Religion & Film. NE: University of Nebraska at Omaha. 18 (1) 45: 1–25.
Eisenstein, Sergei. 2014. Immoral Memories: An Autobiography. LDN: Peter Owen Publishers
Gianvito, John. 2006. “Introduction,” Andrei Tarkovsky: Interviews. Edited by Gianvito. MS: University Press of Mississippi.
Giralt, Gabriel F. 2005.“Andrei Tarkovsky’s Adaptation of Motifs Embedded in Leonardo daVici’s The Adoration of the Magi,” Canadian Journal of Film Studies 14(2): 71-83.
Guerra, Tonino. 2006. “Stalker, Smuggler of Happiness,” Andrei Tarkovsky: Interviews. Translated from French by Deborach Theodore. Edited by John Gianvito. MS: University Press of Mississippi. pp. 50-54
Johnson, Vida T.. 2001. “Eisenstein and Tarkovsky: A Montage of Attractions,” Eisenstein at 100: A reconsideration. Edited by Albert J. LaValley, Barry P. Scherr. NJ: Rutgers University Press.
——and Graham Petrie. 1994. The Films of Anderi Tarkovsky: A Visual Fugue. IN: Indiana University Press.
Kreider & O'Leary. 2013. “Time, Place and Empathy: the Poetics and Phenomenology of Andrei Tarkovsky's Film Image,” Visual Studies.The International Visual Sociology Association. 28(1): 1-16.
Le Fanu, Mark. 1987. The Cinema of Andrei Tarkovsky. LDN: BFI Publishing.
Loughlin, Gerard. 2009. ”The Long Take: Messianic Time in Andrei Tarkovsky's Nostalghia,” Journal for Cultural Research. UK: Lancaster University’s Institute for Cultural Research. 13(3-4): 365-379.
Marks. Laura U.. 2000. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. NC: Duke University Press.
Merleau-Ponty, Maurice. 1968. The Visible and the Invisible, Followed by Workings Notes. Edited by Claude Lefort. Translated from French by Alphonso Lingis. IN: Northwestern University Press.
——. 2002. Phenomenology of Perception. Translated from French by Colin Smith. LDN: Routledge.
Misharin, Alexander. 1990. “On Blood, Culture and History,” About Andrei Tarkovsky. Translated from the Russian by Paula Garb. Edited by Marina Tarkovskaya. Moscow: Progress Publishers. pp. 51-60.
Nesbet, Anne. 2007. Savage Junctures: Sergei Eisenstein and the Shape of Thinking. NYC: I.B.Tauris
Odde, Thomas. 2009. “Time Sicknessin Andrey Tarkovsky’s The Sacrifice,” Canadian Journal of Film Studies/ Revue Canadienne D’Études Cinématographiques.Film Studies Association of Canada. 18 (2, Fall): 66–86.
Perez, Gilberto. 1998. The Material Ghost: Films and Their Medium. LDN: The Johns Hopkins University Press.
Petric, Vlada. 1989-1990. “Tarkovksy’s Dream Imagery,” Film Quarterly. CA: University of California Press. 43(2) : 28-34.
Pontara, Tobias. 2014. “Bach at the Space Station: Hermeneutic Pliability and Multiplying Gaps in Andrei Tarkovsky’s Solaris.” Music, Sound, and the Moving Image 8(1): 1-23.
Pospielovsky, Dimitry. 1987. A History of Soviet Atheism in Theory, and Practice, and the Believer, vol 1: A History of Marxist-Leninist Atheism and Soviet Anti-Religious Policies. LDN: The Macmillan Press Ltd..
Powell, Anna. 2007. “Altered States of Time,” Deleuze, Altered States and Film. UK: Edinburgh University Press Ltd.. pp. 137-175.
Ricoeur, Paul. 1978. The Rule of Metaphor: Multi-disciplinary studies of the creation of meaning in language. Translated from French by Robert Czerny with Kathleen McLaughlin and John Costello. London: Routledge & Kegan Paul.
——. 1986. Lectures on Ideology and Utopia. Edited by George H. Taylor. NY: Columbia University Press.
——. 1990. Time and Narrative. Volume 1. Translated from French by Kathleen McLaughlin and David Pellauer. Chicago: The University of Chicago Press.
——. 1991. From text to action.Translated from French by K. Blamey & J. B. Thompson. IL: Northwestern University Press.
Skakov, Nariman. 2009. “The (Im)possible Translation of Nostalgia,” Studies in Russian and Soviet Cinema3 (3): 309-333.
——. 2012. The Cinema of Tarkovsky: Labyrinths of Space and Time. London: I. B. Tauris& Co., Ltd..
Sitney, P. Adams. 2014. ”Andrey Tarkovsky, Russian Experience, and the Poetry of Cinema,” New England Review. VT: Middlebury College. 34(3-4): 208-241.
Sobchack, Vivian. 1992. The Address of the Eye: A Phenomenology of Film Experience. NJ: Princeton University Press.
——. 2004. Carnal Thoughts: Embodiment and Moving Image Culture. CA: University of California Press.
——. 2009. “Phenomenology,“
The Routledge Companion to Philosophy and Film. Edited by Paisley Livingston and Carl Plantinga. UK: Routledge
. pp. 435-445.
Tarkovsky, Andrei. 1999.Collected Screenplays. Translated by William Powell and Natasha Synessios. : LDN: Faber and Faber Ltd..
——. 2012. Sculpting In Time. Translated by Kitty Hunter-Blair. TX: University of Texas Press.
Tarkovsky, Arseny. 2013. Life, Life, Selected Poems. Arseny Tarkovsky. UK: Crescent Moon Publishing.
Tassone, Aldo. 2006. “ Interview with Anderi Tarkovsy (on Stalker),” Andrei Tarkovsky: Interviews. Translated from French by Deborach Theodore. Edited by John Gianvito. MS: University Press of Mississippi. pp. 55-62.
Truppin, Andrea.1992. “And Then There Was Sound: The Films of Andrei Tarkovsky,” Sound Theory/Sound Practicepp. 235–48.
Turovskaya, Maya.1989.Tarkovsky: Cinema as Poetry. Translated by Natasha Ward. LDN: Faber and Faber Ltd..
Wright, Alan. 1996. “A Wrinkle in Time:
The Child, Memory, and The Mirror,” Wide Angle. AL: Samford University. 18.1 (1996): 47-68.
Ziolkowski, Margaret.2008. “Dostoevsky and the Kenotic Tradition,” Dostoevsky and the Christian Tradition. UK: Cambridge University Press. pp. 31-40.
Žižek, Slavoj. 1999. “The Thing from Inner Space on Tarkovsky,” Angelaki: Journal of the Theoretical Humanities. UK: Routledge. 4 (3): 221-231.

三、學位論文
McGhee, Kimberly Kay. 1998. “To Duty Doubly Bound: A Study of Melancholy in Ingmar Bergman’s Persona, Toni Morrison’s Beloved, Andrei Tarkovsky’s The Sacrifice and Fyodor Dostoyevsky’s The Idiot”. Doctoral dissertation. The Graduate School of the State University of New York at Buffalo.

四、影片DVD
Leszczylowski, Michael (Director). 2011. Directed by Andrei Tarkovsky. [DVD] Kino Lorber, Inc..（原片發行於1988年，瑞典，99分鐘，彩色／黑白，俄語／瑞典語）
Tarkovsky, Andrei (Director). 2013. Ivan’s Childhood. [Blue-ray Disc] The Criterion Collection.（原片發行於1962年，蘇聯，95分鐘，黑白，俄語）
——. 1998. Andrei Rublev. [DVD] The Criterion Collection.（原片發行於1966年，蘇聯，205分鐘，黑白／彩色，俄語）
——. 2011. Solaris. [DVD] The Criterion Collection.（原片發行於1972年，蘇聯，166分鐘，彩色，俄語）
——. 2000. The Mirror. [DVD] Kino Intl. Corp..（原片發行於1975年，蘇聯，106分鐘，彩色／黑白，俄語）
——. 2006. Stalker. [DVD] Kino Intl. Corp..（原片發行於1979年，蘇聯，163分鐘，彩色／黑白，俄語）
——. 2014. Nostalghia. [DVD] Kino Lorber, Inc..（原片發行於1983年，義大利，125分鐘，彩色／黑白，義大利語／俄語）
——. 2011. The Sacrifice. [DVD] Kino Lorber, Inc..（原片發行於1986年，瑞典，145分鐘，彩色／黑白，瑞典語）

五、網路資料
Sartre, Jean Paul. 1963. “A Letter to Alicata” L’Unita.” Translated by Madan Gopal Singh. http://people.ucalgary.ca/~tstronds/nostalghia.com/TheTopics/Sartre.html。2016年1月17日瀏覽。
Shpinitskaya, Julia. 2006. “Solaris by A. Tarkovsky: Music-Visual Troping, Paradigmatism, Cognitive Stereoscopy” TRANS-Revista Transcultural de Música. http://www.sibetrans.com/trans/a157/solaris-by-atarkovskymusic-visual-troping-paradigmatism-cognitive-stereoscopy。2016年1月13日瀏覽。
Zacharek, Stephanie. 2016. “Billy Lynn’s Longs Halftime Walk,” Time Review. http://time.com/4566463/billy-lynns-long-halftime-walk-review-ang-lee/。2016年12月29日瀏覽。
劉紀蕙，2006。《Žižek：集權主義與他者性、小客體的問題》。http://www.srcs.nctu.edu.tw/joyceliu/PEA/asiaweb/P_A_E/Political%20Retreat/zizekTotalitarianism.pdf。2016年2月15日瀏覽。