霍格里耶《重現的鏡子》：互文層面的鏡子？; Le Miroir qui revient d’Alain Robbe-Grillet: quel miroir au niveau intertextuel?

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題名:	霍格里耶《重現的鏡子》：互文層面的鏡子？;Le Miroir qui revient d’Alain Robbe-Grillet: quel miroir au niveau intertextuel?
作者:	張雅婷;Ya-Ting Chang
貢獻者:	法國語文學系
關鍵詞:	互文性;類小說;閱讀自由;霍格里耶;羅蘭巴特;自傳;romanesque;intertextuality;autobiography;Alain Robbe-Grillet;Roland Barthes;liberation of reading
日期:	2007-06-25
上傳時間:	2009-09-22 09:16:04 (UTC+8)
出版者:	國立中央大學圖書館
摘要:	本文企圖以互文性的角度來挖掘法國新小說家霍格里耶(Alain Robbe-Grillet) 第一本自傳《重現的鏡子》裡的語意場域。霍格里耶的自傳共有三部，分別是《重現的鏡子》(Le Miroir qui revient)、《安傑莉卡或迷狂》(Angélique ou l’enchantement) 與《歌漢特最後的日子》(Les Derniers jours de Corinthe)，歸在全名《類小說》 (Romanesques)下。由於互文性是本文的主要方法論，所以本文的第一章節就嘗試處理這個長久以來不斷形變與擴充的概念。在貼近其定義的同時，本文也將說明以互文性來詮釋《重現的鏡子》這個文本的緣由。緊接著的第二、三章節就直接以互文角度進行文本詮釋，詮釋的主線有二：一是同一文本內的互文，二是此文本與其他文本的互文。關於同一文本內的互文，本文著眼於《重現的鏡子》在傳統文類上的交雜，除了傳統的自傳，還明顯可見小說和評論的平行並置。至於和其他文本的互文，本文則由自傳全名《類小說》出發，期望與羅蘭巴特論述中的《類小說》概念做一對話。最後，這兩個層面的互文閱讀也相互備書，肯定這種「類小說」式的生命書寫是一種釋放閱讀的可能。 By means of intertextuality, the present work intends to explore the semantic field of Le Miroir qui revient [The Mirror Which Returns], the first autobiographic volume of the French new novelist, Alain Robbe-Grillet. In fact, Le Miroir qui revient is the first part of his autobiographic trilogy, Romanesques, including two other volumes : Angélique ou l’enchantement and Les Derniers jours de Corinthe. Since intertextuality serves as the essential methodology on textual analysis, the first part of the work tries to reexamine the concept of intertextuality which remains extremely ambiguous as of its birth. Of the same part, the choice of intertextuality as methodology in order to analyse the texe Le Miroir qui revient will also be justified, which thus constitutes the theoretical prolegomena. The following chapters go directly into the intertextual analysis at two levels : inter-textual and intertextual. With regard to the inter-textual analysis, the work focuses on the hybrid form of Le Miroir qui revient, which is actually composed of three literary genres traditionally distinguished from one another, i.e. autobiography, fiction and meta-discourse. In the first chapter, two ‘‘mirrors which return’’ will be elaborated on the basis of an active interaction among the three genres juxtaposed in the same text. As to the intertextual analysis, the work refers to the concept of ‘‘romanesque’’ [roman-like] of Roland Barthes in the hope of constructing a possible dialogue between his narrative of being, Roland Barthes par Roland Barthes, and that of Alain Robbe-Grillet. In the second chapter, the roman-like narrative of being is argued as the third ‘‘mirror which returns’’, as well as a potential access to the liberation of reading in the consumer society.
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