飄浮中的《夜草》：一種蒙迪安諾式的敘述美學;L’Herbe des nuits ou le flottement comme l’art du récit modianien

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题名:	飄浮中的《夜草》：一種蒙迪安諾式的敘述美學;L’Herbe des nuits ou le flottement comme l’art du récit modianien
作者:	萬濬豪;Wan,Jyun-Hao
贡献者:	法國語文學系
关键词:	派翠克蒙迪安諾;夜草;飄浮;敘述美學;寫作風格;Patrick Modiano;L′Herbe des nuits;le flottement;l′art du récit;l′écriture modianienne
日期:	2016-07-25
上传时间:	2016-10-13 13:28:03 (UTC+8)
出版者:	國立中央大學
摘要:	2014年，獲頒諾貝爾文學獎的法國作家派翠克．蒙迪安諾(Patrick Modiano) 被視為法國重要的當代作家。他的作品極具個人特色，如同其他當代的法國文學作品，其小說創作已非如同傳統小說的敘事模式，進而這樣的書寫方式已無法被單一、明確的定義與歸類。因著這樣的文學風氣，當代小說家在得以塑造個人的寫作風格，而本文研究的作者即為一個很好的例子。既然無法被明確地歸類，這樣的不確定性也正貼合此論文的研究主題－「飄浮的書寫美學」。本論文旨在透過不同的面向去探討派翠克．蒙迪安諾小說作品中的「飄浮」，進一步了解作家如何透過書寫呈現此一主題，抑或是說「飄浮」如何成為其主要的創作核心概念。本論文以作家的小說《夜草》為研究對象。論文首章嘗試以文本的文類作為「飄浮」概念的主軸。雖然文類展現了其不確定性，亦試著找出可能的類別，將其分為自傳小說、偵探小說及愛情小說。在各自的文體中，小說本身亦表現出其相似又相異的面向。一方面，在分類的同時，我們看出了小說與文體分類之間的相似關係，但於我們定義的同時，文本又不斷地展示其不同的一面。這樣的現象表現了小說本體的無法被定義性，而「飄浮」的概念也透過這樣的異同性展現。第二章以透過作家運用的特有寫作手法：小說中人物身分的塑造、人物互動語言的使用以及文本中「小說化」的現象來呈現此一主題。第三章主要以作品中巴黎的城市意象為討論的核心主題。作家藉由城市形象的塑造引入了「隱跡文本」的概念。城市的意象即飄浮於層層堆疊及互相交錯的影像之中，在一種若有似無，看似消失卻又非真的遺失的尋覓之中，讓隱含在城市中的一切擺盪、游移於這永恆的「飄浮」。;In 2014, the Nobel prize in literature was awarded to the French writer Patrick Modiano who is regarded as the one of french important contemporary writer. Instead of following the traditionnel novel narrative pattern, his work has his own individual characteristic. That is to say, it′s difficult to give a explicit definition and the classification to his novel. Because of such literature atmosphere, the author can create his individual writing style. Since his creation is unable to classify explicitly, such uncertainty also fitting the subject of this paper research - “float written esthetics”. This research is for the purpose of discussing the float through the different perspectives. In the first chapter, we attempt to show the concept of “float” by classifying the text. Although the article class has unfolded its uncertainty, we try to discover the possible category, divides into it the autobiography novel, the detective story and love novel. In respective literary style, novel itself also displays its similar different facing. During the work of the classification, we note that there are some similar relations between the novel and the literary style classification, but at the same time, the text demonstrates its different side unceasingly. Such phenomenon displays the indefinite character of the novel. In the second chapter, we concentrate on the narrative art of the author, in particular in this book based on the movement of the reminiscence. Through to and from of the present and past, a movement of zigzag, perpetual displacement on the level of time takes shape. Modiano has fun to launch out to a voyage from time, with the means of which the human being gets rid of the anchoring of the present and of ici-maintenant. Thanks to this disengagement of time, the memory can circulate freely. Moreover, through certain narrative processes, the undulation manages to deal with the shaping of the image of the characters, the permanent problem in their conversations and the intervention of the fictitious effect. Moreover, it seems to us that the role of the narrator is registered with the phenomenon of the unfolding where the narrator floats between the past and the present, and even in its own speeches. In the third chapter, our research relates to Paris, decoration of the account which makes it possible to the protagonists to be not only found, but also to lose itself. The author apprehends this city as a palimpsest where are combined the center and the periphery, the present and the past and reality and imagination. Thus, the idea of topography becomes fuzzy and dubious so that one cannot examine it under the rational glance. The undulation, which is the opposite of the rooting, is with the image of this “grass of the nights” which has existence only in the undulation.
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