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研究生:黃冠維
研究生(外文):Kuan-Wei Huang
論文名稱:賦身貝克特:薩繆爾.貝克特戰後文學中的身體與感官感覺
論文名稱(外文):Fleshing Out Beckett: The Body and Senses in Samuel Beckett’s Post-war Prose Works
指導教授:齊東耿齊東耿引用關係
指導教授(外文):Duncan McColl Chesney
口試委員:李鴻瓊霍弘毅
口試委員(外文):Hung-Chung LiThomas Carl Wall
口試日期:2018-12-04
學位類別:碩士
校院名稱:國立臺灣大學
系所名稱:外國語文學研究所
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:2019
畢業學年度:107
語文別:英文
論文頁數:102
中文關鍵詞:薩謬爾.貝克特莫里斯.梅洛龐蒂身體現象學後結構主義新媒體現代主義
DOI:10.6342/NTU201900263
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薩謬爾.貝克特的作品以晦澀、抽象著稱,研究者也經常注重於作品中的哲學思想和抽象思辯,忽略其中的敘事者掙扎於自體肉身的感覺、痛苦和詭奇的身體敘述。自貝克特作品出版以來,論者將其與笛卡爾式主體掛勾,宣稱貝克特的角色都試圖從肉身的桎梏中解放,探索完全孤獨的靈魂。本論文試圖將身體這一面向重新引進貝克特研究的視域,並以此為出發點,重新考察貝克特文學作品中的理論意義和社會政治脈絡。
首先,本論文以現象學家莫里斯.梅洛龐蒂的身體現象學為出發點,檢視貝克特作品中敘事者如何以肉身感知並棲居於世界中。藉由爬梳梅洛龐蒂從他早期「身體圖式」至後期「肉身」的概念,第一章以此分析貝克特三部曲中敘事者對自身身體奇異的變化:從不正常的主客體關係、主客體混淆、至最後主客體界線消融,與世界合而為一的不可區辨狀態。第一章進一步以這樣的現象學分析來解釋貝克特小說三部曲不和諧的形式與內容,是對西方文學傳統的反思與高度現代主義小說的反叛。
第二章將焦點轉至貝克特的後期三部曲,認為後期貝克特著重於直接對讀者的意識與感覺產生影響。藉由不限定的第三人稱形式,我們在閱讀貝克特後期作品時無法區分敘事者、接收者、和讀者的界線,也因此能夠在讀者的意識中直接施加幽微的感官感覺,令讀者聽見沉默、看見虛空、動靜並存。
第三章以政治社會角度來整合前兩章的內容分析,試圖重新將貝克特的作品放進一個新的脈絡中,並重新定義現代主義的內涵。首先,早期三部曲中的身體與斷裂的敘事是一倫理的書寫,以回應現代主義開始出現對身體、瘋狂、與不可言說的狂熱崇拜。晚期三部曲則是更顯著的受到六零年代以降新媒體的出現與貝克特本人的製作影響,展現不同媒體藝術的方法論如何影響文字藝術操弄觀者經驗的方式。這樣的分類試圖細緻定義貝克特研究中已成共識的「晚期現代主義」的內涵,並引入廣播、電視、電影等新媒介背景,來擴大傳統研究中僅限於繪畫與文學傳統的歷史分析。
The body in Beckett’s works is often overlooked, or seen as a manifestation of Beckett’s abstract concepts. Critics have often focused on interiority in Beckett’s works, privileging mind over body, and seeing his negative language reducing the body to a geometrical object as a Cartesian concept instead of a living flesh. This viewpoint leads studies of Beckett to predictable philosophical readings, and the body remains an abstract idea and an undeveloped topic. Aiming at arguing the crucial role of the body as living flesh in Beckett’s works, this thesis will introduce both theoretical and socio-historical approaches to illustrate the peculiar embodiment in Beckett’s works.
First, it will draw on Merleau-Ponty’s phenomenology as the starting point to see how the Beckettian body perceives and imagines the world. Following Merleau-Ponty’s early concept of “body schema” to his late concept of “flesh,” I will examine the narrator’s procedural experience from the body-image, subject-object confusion, to the indistinguishability between the body and the world. I will then bridge up this phenomenological examination with Beckett’s take on art, form, and the novel. Combining these two, chapter one aims at offering a new perspective on Beckett’s trilogy and high-modernism.
Chapter two focuses on the immediate reading experience. Starting from Company’s indeterminate narrator and addressee, I argue that this turn from the first-person narrative to a non-subject third narrative, creates a mutual and liminal space for the fictional characters and the reader to intertwine. The closed space narrative directs our imagination towards the inner reality, and foreground our self-reflexivity as an enigmatic milieu where self and the other are indivisible. From voice, image, to movement in space, I argue that the late trilogy, being minimalist in style, in effect, implicates the untouched realm of our self-consciousness and the world, forcing the reader to hear the silence, to see the void, and to move to stop.
Chapter three integrates chapter one and two to explore the socio-historical occasions of Beckett’s writing. Following the recent trend of reassessing modernism, I attempt to locate the trilogy and the late trilogy as two discontinuous, yet not incoherent, sensuous modulations which Beckett consciously or unconsciously applies in different occasions. Through unraveling the engagement and the history of the modernist artist outside the paradigmatic field of Beckett studies (e.g. paintings and literature), I want to offer a broader picture of Beckett’s oeuvre as a pivotal point for both the reassessment of modernism and the future studies concerning the fertility of the body, the senses, and art.
Acknowledgements ii
Abstract iii
List of abbreviations vii
Introduction 1

Chapter One:
Embodied Ignorance 19

Chapter Two:
(Dis)Embodied Senses 45

Chapter Three:
Late Body Modernism 72

Conclusion 92

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