不安的美學：瑪格麗特・莒哈絲的晦澀敘事

Abstract

本篇論文主要探討瑪格麗特・莒哈絲鮮明的寫作風格，並從中研討莒哈絲如何運用多種敘事表現手法展現女性角色之無法闡述的慾望以及背後隱含的創傷。 從作者文中展現的陰性書寫特質出發，本文試圖闡釋莒哈絲敘事手法如何與其文中女性在父權社會體系下的壓抑情感議題相互呼應，並為了解莒哈絲書寫風格的關鍵之一。 本文主要著重於莒哈絲早期作品如《如歌的行板》、《夏夜十點半》以及知名的印度系列作品 《勞兒之劫》、《副領事》與電影作品 《印度之歌》、《廣島之戀 》等之分析。透過以上作品，研析作者如何透過複雜的敘事方法，展現難以言喻的情慾糾結與個人創傷之經驗、並企圖透過陰性書寫的特性針對無法再現的情感進行表述。

This study examines Marguerite Duras’s distinctive style in terms of the unresolved issues of the inexpressive desire and trauma of women by drawing attention to her polymorphic narrative strategies. With attention to the characteristics critical to écriture féminine exhibited in the author’s work, the study attempts to offer an alternative reading of Duras that explains how the strategies applied are indispensable to the author’s representation of the uneasy emotions lurking underneath the regulated social environment. This study looks into a range of selected texts from Duras, including the early pieces such as Moderato Cantabile, Dix Heures et demie du soir en été, and the much discussed India Cycle consisting of Le Ravissement de Lol V. Stein, Le Vice-Consul, and the film India Song. Examples found in these significant texts provide us a perspective onto this complex network of desire, female expression, and the question of representation of personal suffering Duras has managed to create via her extensive oeuvre.