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| Title: | 時空體與對話性：董啟章《自然史三部曲》研究
Chronotope and Dialogicality: A Study of Dung, Kai-Cheung`s Natural History Trilogy |
| Authors: | 王得宇
Wang, Te Yu |
| Contributors: | 高國魁
Kao, Kuo Kuei
王得宇
Wang, Te Yu |
| Keywords: | 自然史
自然寫實主義
巴赫金
時空體
對話性
人類成長
Natural History
Natural Realism
Bakhtin
Chronotope
Dialogicality
Human Bildung |
| Date: | 2016 |
| Issue Date: | 2016-07-11 17:44:22 (UTC+8) |
| Abstract: | 香港作家董啟章的長篇小說《自然史三部曲》是一項規模龐大的寫作計畫。此計畫採取「自然史」的形式，旨在跨越文明史觀轉向一切事物的源頭追索。進而，這一系列創作主要是透過多聲部的對位和應答去營造，小說的時間與速度、情感與思考皆呈現出繁複而動態的效果。就內容言，自然史意在廣納物質與語言的創造、時空與情感的迸生、身體與性愛的顯露，以及人類作為物種的誕生與成長（Bildung）等包羅萬有的主題。藉此，自然史試圖重新思索一個人與自我、他人以至世界的複雜關係，並且在不返回基礎形上學的前提下再度探問人類的存有與行動之條件。
在方法上，本研究首先沿著董啟章的小說創作軌跡去勾勒自然史的孕生過程和主題結構，接著引發巴赫金（Mikhail Bakhtin）與董啟章在小說理論上的差異對話，從而針對三部曲的敘事形式和內容進行文本詮釋。我們重點強調巴赫金的時空體（chronotope）範疇與對話性（dialogicality）思想，以及他對歌德與杜斯妥也夫斯基的詮釋將會是董啟章與巴赫金之間的潛在理論戰場。此外，本論文亦將反身地探問董啟章的小說本體論，並提出「自然寫實主義」的概念來描述其小說風格。具體而言，自然寫實主義將從兩個面向鋪陳論證，亦即三部曲中的自然即是歷史性以及寫實主義超越客觀性的非傳統意涵。
首部曲《天工開物‧栩栩如真》展開作者與主角的美學倫理問題，繼而在自我意識的分裂對話中遭遇可能的想像他者。這部曲的原創之處在於重新納入自然的假設，凸顯自然與人為彼此延伸或開放的關鍵在於想像的再造，位處人之盡頭的嶄新思考（時間）和語言（生命）。第二部《時間繁史‧啞瓷之光》積極破除作者自我的迷障，回應生活中的具體他人。這部曲除了以時空體的迸生理解對話性的成長，更特別透過諸般藝術形象作為純粹符號，一方面證明自我與他人的對話總有超越語言溝通的可能，另方面暗指自然正是要透過準自然的文物揭櫫，在眾多主體性抵消的零和之處浮現。第三部《物種源始‧貝貝重生之學習年代》的人物返回觀點外在化、立場公共化的新古典精神。這部曲凸顯了作者自我的退隱同時也是多重作者再次進場的契機。發展至此，大寫作者的回歸已不再意涵辯證綜合的某個絕對精神，而比較是某種實證集合的自然人存有體。於是，人類透過書寫的行動與身體的經驗重新獲得了學習和成長的潛能。
最後，本研究將論證，董啟章的自然寫實主義創新地結合歌德的自然科學觀和杜斯妥也夫斯基穿透主體的寫實主義，意即在巴赫金的小說理論基礎上進行了雙重跨越。與此同時，董啟章的自然史三部曲激進地超越了片面的政治、經濟和社會史觀。他針對小說文類的創造性實驗冒險地催生出一種後歷史的人類科學，也許甚至是一部未來性的人類史詩。
Hong Kong novelist Dung Kai-Cheung’s Natural History Trilogy is a writing project on the grand-scale. This project is presented in the form of “natural history”, a form of traversing the entire history of civilization to inquire into the source of all things. The series of fictional works mainly utilize a multi-vocal device of counterpoints or mutual responses to create an effect of moving labyrinths in the novel with regards to its narrative time and speed, affect and idea. In terms of content, natural history intends to accommodate a wide variety of themes such as the creation of materiality and language, the emergence of time-spaces and affects, the manifestation of the human body and sexuality, as well as the birth and growth (Bildung) of the human species. As such, natural history seeks to reconsider the complex relationships a single human being may enter with him/herself, with others, and with the world. As a result, natural history reexplores the conditions of being in the world and human action without lapsing into fundamental metaphysics.
On the methodological level, this thesis first of all outlines the preparatory phases and thematic structures of natural history along the trajectory of Dung Kai-Cheung’s early writings, and thereafter initiates an alternative dialogue about the theory of the novel between Mikhail Bakhtin and Dung Kai-Cheung with and aim to conduct textual interpretations of the trilogy’s narrative forms and plot contents. We will foreground Bakhtin’s conception of chronotope and dialogicality as well as his interpretation of Goethe and Dostoevsky as the potential theoretical battlegrounds between Bakhtin and Dung. Additionally, this thesis will reflexively search after Dung Kai-Cheung’s ontology of the novel, thereby putting forward a notion called “natural realism” to describe the style of his trilogy. Specifically speaking, we will elaborate on the idea of natural realism in two respects, namely the unconventional implications of nature as historicity and realism as supra-objectivity.
The first episode Works and Creations poses a question of aesthetic ethics regarding the author-hero relationship in which the possibility of encounters with fantastic others can be created through an internal dialogue of divided self-consciousnesses. The originality of this episode resides in staging a hypothetical return of nature for the sake of showcasing that the mutual openness and extension between natural and artificial facts depend on remaking of imagination, and resides in a new horizon of thought and language at the end of man. The second episode Histories of Time further engages in lifting the barrier of the authorial self, after which a living response to actual others may be recovered. This episode not only understands dialogical Bildung through the prism of chronotopic emergence but also envisages a variety of artistic figures as pure signs. This literary device is designed to demonstrate that dialogues between the self and others could always surpass the linguistic form of communication, and also intimate that nature is manifested through these cultural relics of quasi-nature and reemerged in the extermination of multiple subjectivities at the end of a zero-sum game. The third episode The Age of Learning brings the characters back to the neo-classical spirit in which each viewpoint gains a notable voice and all standpoints are rendered public. This episode lays emphasis on the retreat of the authorial self as a simultaneous chance for the return of multiple authorship. As of now, the return of the Author no longer implies the dialectical synthesis of some absolute spirit, but rather a certain positive assembly of natural human beings. Henceforth, the human species regains the potentialities of learning and growth through the action of writing and bodily experience.
Eventually speaking, the thesis will argue that Dung Kai-Cheung’s natural realism is the fruitful result of an innovative integration of Goethe’s idea of natural science and Dostoevsky’s subject-penetrating realism, a result based upon striding across Bakhtin’s interpretations of both literary giants. In the meantime, Dung Kai-Cheung’s trilogy of natural history opens up a frontier radically transcend any one-sided view of history in favor of politics, economics and/or society. His creative experiment with the novel genre ventures to deliver a post-historical human science, perhaps even a future-oriented human epic. |
| Reference: | 一、專書篇章
王德威
2001 〈命名，疏離的起點〉，頁316-318，收錄於王德威《眾聲喧嘩以後：點評當代中文小說》。台北：麥田。
2010 〈香港另類奇蹟—董啟章的書寫／行動和《學習年代》〉。頁3-20，收錄於董啟章，《物種源始‧貝貝重生之學習年代》。台北：麥田。
劉康
1995 《對話的喧聲：巴赫汀文化理論評述》。台北：麥田。
董啟章
1996 《安卓珍尼──一個不存在的物種進化史》。台北：聯合文學。
1997a 《地圖集：一個想像的城市的考古學》。台北：聯合文學。
1997b 《雙身》。台北：聯經。
1998 《名字的玫瑰》。台北：元尊文化。
2001 〈城市的現實經驗與文本經驗──閱讀《酒徒》、《我城》和《剪紙》〉，頁394-407，收錄於張美君、朱耀偉編，《香港文學@文化研究》。香港：牛津大學中國。
2002a 《衣魚簡史》。台北：聯合文學。
2002b 《練習簿》。香港：突破。
2004a 《體育時期（上學期）》。台北：高談文化。
2004b 《體育時期（下學期）》。台北：高談文化。
2004c 《東京‧豐饒之海‧奧多摩》。台北：高談文化。
2005a 《天工開物‧栩栩如真》。台北：麥田。
2007a 《時間繁史‧啞瓷之光（上）》。台北：麥田。
2007b 《時間繁史‧啞瓷之光（下）》。台北：麥田。
2010a 《物種源始‧貝貝重生之學習年代》。台北：麥田。
2011a 《在世界中寫作，為世界而寫》。台北：聯經。
2011b 《夢華錄》。台北：聯經。
2012a 《繁勝錄》。台北：聯經。
2012b 《博物誌》。台北：聯經。
2013a 《體育時期（劇場版）【上學期】》。台北：聯經。
2013b 《體育時期（劇場版）【下學期】》。台北：聯經。
2014a 《美德》。台北：聯經。
董啟章、利志達
2005 《對角藝術Paixões Diagonais》。台北：高談文化。
Bakhtin, M.
1981 The Dialogic Imagination: Four Essay, Austin: University of Texas Press.
1984 Problems of Dostoevsky’s Poetics, London: University of Minnesota Press.
1986 Speech Genre and Other Essays, Austin: University of Texas Press.
1990 Art and Answerability: Early Philosophical Essays, Austin: University of Texas Press.
1993 Toward a Philosophy of the Act, Austin: University of Texas Press.
Ercolino, S.
2014a The Novel-Essay, 1884-1947, New York: Palgrave Macmillan.
2014b The Maximalist Novel: From Thomas Pynchon`s Gravity`s Rainbow to Roberto Bolano`s 2666, London-New York: Bloomsbury.
Kaufmann, W.
1991 Goethe, Kant, and Hegel: Discovering the Mind. Volume one, New Brunswick, N.J.: Transaction Publishers.
Löwith, K.
1991 From Hegel to Nietzsche: The Revolution in Nineteenth-Century Thought, New York: Columbia University Press.
Morris, P.
1994 The Bakhtin Reader: Selected Writings of Bakhtin, Medvedev, Voloshinov, London; New York: E. Arnold.
Tihanov, G.
2000 The Master and the Slave: Lukács, Bakhtin, and the Ideas of Their Time, New York: Oxford University Press.
Trifonova, T.
2007 “Baudrillard’s Simulation: The End of Visibility.” Pp. 171-220 in The Image in French Philosophy, New York: Editions Rodopi BV.
二、報刊雜誌與網路文獻
鄒文律
2002 〈小說創作的焦慮──董啟章對寫作的一些看法〉。《文學世紀》，14。
董啟章
2005b 〈假如那一年我沒有拿到聯合文學小說新人獎〉。《聯合文學》，248：92-95。
2010b 〈從天工到開物──一座城市的建成〉。《字花》，26：97-103。
2013c 〈未來的考古學──二十一世紀初，在香港寫作〉。《字花》，41：43-51。
2014b 〈必要的沉默──香港書展2014年度作家感言〉。明報，世紀版，7月16日。
2014c 〈給後代一個有文學的未來──董啟章給林鄭月娥女士的公開信〉。明報，世紀版，7月16日。
2014d 〈潘朵拉的盒子與宇宙之心〉。《字花》，50：114-119。
2014e 〈行動生活──文學與現實世界〉。演講發表於「第25屆香港書展」，香港：香港貿易發展局，2014年7月16日至22日。
2014f 〈默想生活──文學與精神世界〉。演講發表於「第25屆香港書展」，香港：香港貿易發展局，2014年7月16日至22日。
梁文道、董啟章
2010 〈小說是建構世界的一種方法──梁文道對談董啟章〉。《印刻文學生活誌》，79：54-67。
譚以諾
2014 〈沉默之辯──回應董啟章〈必要的沉默〉論爭對談〉。《字花》，51：52-59。
譚以諾、董啟章
2016 〈心嘅解構，意喺言外〉。《聯合文學》，376：62-67。
Groys, B.
2014 “Fiction Defictionalized: Art and Literature on the Internet.” Paper presented at the German-American workshop The Word Electric, New York, October 25.
三、學位論文
林藍馨
2010 《想像世界的獨裁者──董啟章小說研究》。台北：國立台灣師範大學國文學系教學碩士班碩士論文。
黃鈺萱
2011 《臺灣文學場域中的「香港」──以鍾曉陽、西西、董啟章為例》。新竹：國立清華大學臺灣文學研究所碩士論文。 |
| Description: | 碩士
國立政治大學
社會學系
101254014 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0101254014 |
| Data Type: | thesis |
| Appears in Collections: | [社會學系] 學位論文
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