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標題: | 漂浮的敘事:從海洋閱讀約瑟夫・康拉德的《吉姆爺》 Rhetoric Set Afloat: Joseph Conrad’s Oceanic Narrative in Lord Jim |
作者: | Yi-Chen Lay 賴宜謙 |
指導教授: | 李紀舍(Chi-she Li) |
關鍵字: | 約瑟夫・康拉德,《吉姆爺》,維多利亞晚期海洋,海洋敘事,修辭學,新物質主義, Joseph Conrad,Lord Jim,late Victorian ocean,rhetoric,oceanic narrative,New Materialism, |
出版年 : | 2020 |
學位: | 碩士 |
摘要: | 海洋在約瑟夫·康拉德的人生經歷和作品中無所不在,然而學界鮮少關注海洋與康拉德書寫之間的關係。對於康拉德作品中的海洋,現有研究大多或避而不談,或將其讀為象徵其他事物的符號,掩飾海洋實質的存在和影響。為解決此問題,本論文嘗試建立一個新的研究框架,以探究海洋對於康拉德寫作之影響,並藉由閱讀《吉姆爺》來測試其效力。借鑒托馬斯·里克特(Thomas Rickert)融合修辭傳統和新物質主義,我提出「海洋修辭」(hydro-rhetoric)的概念,以追溯海洋對於語言形成之影響。我將維多利亞晚期的海洋定位為《吉姆爺》修辭情境(rhetorical situation)中的重要成分,並視小說的敘事結構和技巧為康拉德對於此修辭情境之回應。 通過分析敘事手法與海洋之間的交互關係,我認為《吉姆爺》的敘事體現十九世紀晚期人類與海洋的共存狀態。康拉德不僅以敘事技巧捕捉人類與海洋之間的拉扯,更探索海洋如何鬆動真理和身份等概念。第二章著重於《吉姆爺》前半,即巴拿號事件。有別於西方文學傳統中的船難,巴拿號事件並不是個過場,而是故事的主場。我主張康拉德在巴拿號事件的敘述中採用兩個敘事手法:有限知覺和不確定事實。透過有限知覺,康拉德確切地模擬人類在海洋上的體驗。由於海洋缺乏人類熟悉的視覺和聲音標記,因此從人類的感知範圍隱沒。此一現象在維多利亞晚期因海洋探測技術的局限而更加明顯。不確定事實則是出現在主人翁吉姆受審期間的描述。康拉德用事實的不確定來強調海洋如何抵抗人類建立穩固知識的企圖。儘管不同的人對巴拿號事件進行反複檢驗,卻無法達成共識,也沒辦法在海洋上找到具體線索來證實或否定這些猜想。在第三章中,我轉向《吉姆爺》的後半部分,包含吉姆的東行和他在巴都桑的生活。儘管這些事件在陸地上發生,但仍處於水陸並存的印度洋區域,因此屬於探究海洋修辭的範疇中。康拉德在描繪巴都桑時,特別強調了巴都桑與海洋之間的對比。這個對比建築於維多利亞後期海洋世界與吉姆的英雄夢之對立關係;重重難關迫使吉姆必須逃離海洋,來到與海洋完全相反的巴都桑。但是康拉德後來揭示巴都桑不是一個孤立的避風港,而只是海洋網絡中的另一個節點。康拉德利用吉姆的悲劇提出如何與海洋共存的問題,並利用小說中德國商人史坦因的著名言論作為解藥。我也檢視康拉德如何在小說中塑造吉姆的角色。他透過居住在印度洋區域的各種聲音,以及他們提供的訊息片段來建構吉姆。這個敘事手法不僅凸顯當時海洋世界的廣闊和多元,還探討海洋對人類身份的影響。 The ocean has always maintained a ubiquitous existence in Joseph Conrad’s life and works. Despite its prominence in Conrad’s life and milieu, the ocean has attracted surprisingly little attention in Conradian scholarship. Most existing studies on Conrad’s works chose to either gloss over the ocean’s presence or circumvent the real waters by viewing it as a symbol, an abstract sign for something else. In response, this thesis establishes a framework for teasing out the ocean’s presence in Conrad’s writing style, and tests out its analytical capacity in Lord Jim. Drawing on Thomas Rickert’s synthesis of the rhetorical tradition and new materialist concerns, I coin the notion of “hydro-rhetoric” as methodology to trace the oceanic environment’s formative influence on language. Using hydro-rhetoric, I establish the late Victorian ocean as an essential component in the rhetorical situation that produced Lord Jim, and interpret the novel’s narrative structure and techniques as responding to this specific rhetorical situation. By revealing and analyzing the dynamics between narrative devices and the ocean, I identify the narrative of Lord Jim as symptomatic of human-ocean interactions in the late nineteenth century. Conrad not only stylistically captures the cohabitation, negotiation, and conflicts between humankind and the material ocean, but also explores how the particular oceanic scene subverts pre-established concepts of truth and identity. Chapter Two focuses on the first half of Lord Jim, namely the Patna incident. Conrad diverges from conventional usage of the shipwreck trope by lingering on the Patna and meticulously presenting its process of shipwrecking. I argue that Conrad employs two hydro-rhetorical devices—limited perception and failure of truth—in the narrative of the Patna incident. With limited perception, Conrad simulates human experience on the ocean. The ocean, lacking familiar markers of sight and sound, recedes from the grasp of human perception. This situation is further aggravated by limited technology for probing the ocean in the late Victorian era. Later during Jim’s trial, Conrad uses failure of truth to highlight how the ocean resists human attempts of establishing stable facts. Despite repeated examinations of the Patna incident by different individuals, no consensus emerges, nor can concrete evidence be found on the ocean to validate or negate the conjectures. In Chapter Three, I consider the second half of Lord Jim, which covers Jim’s eastward retreat and his life in Patusan. Although these episodes take place on land, they are still situated in the Indian Ocean region, thus inviting analysis of Conrad’s hydro-rhetoric. In his portrayal of Patusan, Conrad puts particular emphasis on the contrast between Patusan and the ocean. This contrast indicates how material conditions of the late Victorian oceanic world repeatedly deter Jim from realizing his heroic dream, hence his need to escape to Patusan, which is the complete opposite of the ocean. However, Conrad later rhetorically reveals that Patusan is not an isolated haven, but just another node in the oceanic network. Using Jim’s tragedy, Conrad raises the question of how to live with the ocean, and presents a solution with Stein’s famous statement on immersing in the destructive element. I also scrutinize Jim’s characterization. By presenting Jim via snippets of information supplied by diverse voices inhabiting the Indian Ocean region, Conrad foregrounds not only the oceanic world’s expansiveness and plurality, but also its effects on human identity. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/58139 |
DOI: | 10.6342/NTU202001525 |
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顯示於系所單位: | 外國語文學系 |
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