萬物交匯：塞巴爾特《眩暈》中的非感官相似性與意合

Abstract

本文探討了塞巴爾特獨特的敘事風格及其倫理政治意涵。由於其模糊的圖像插入和曲折的敘述方式，他的小說常常令人感到困惑。表面上看，他的散文小說似乎是一段段沒有中心主題的離題敘述，而學者們也往往將猶太人的經歷視為其作品的指導性主題。本研究旨在通過華特·班雅明的非感官相似性概念和賈克·洪席耶的並列法及句子圖像理論，來審視塞巴爾特在其首部散文小說《眩暈》中採用的敘事策略，以揭露除了猶太人經歷外，塞巴爾特還欲透過《眩暈》傳遞出什麼樣的訊息。本研究將重點分析塞巴爾特對意合的運用，探討這種特殊的並置方式如何促使讀者識別出非感官相似性或隱藏的聯繫。這些聯繫不僅構成了小說的主題關注點，也影響了其結構的組成，使看似不相關的情節匯聚，並形成一個連貫的影像構句，而作品中所隱含的「訊息」也是透過這樣的表達方式才能被實現、看見。通過其特定的敘事技巧，塞巴爾特探索了人與非人元素、個人與非個人經歷、過去與現在之間的交叉點，最終揭示了歷史破壞的循環模式。本研究有助於更深入地理解塞巴爾特的敘事策略，並展示這些策略如何強化《眩暈》的主題豐富性，使其成為對記憶、創傷和無情時光流逝的深刻省思。

This thesis broaches W. G. Sebald’s unique narrative style and the ethico-political implications of this style. His novels can be confusing because of their dubious insertion of images and their winding narration. On the surface, his prose fiction appears to be digression after digression without a central subject; on the other hand, scholars tend to single out the Jewish experience as the guiding motif in his works. This study seeks to examine the narrative strategies employed by Sebald in his first prose fictional work, Vertigo, through the lens of Walter Benjamin’s conception of nonsensuous similarity and Jacques Rancière’s proposition of parataxis and sentence-image. This study will focus on Sebald’s use of parataxis and see how such a particular mode of juxtaposition prompts the reader to discern nonsensuous similitudes or hidden connections. These connections constitute not only the thematic concern of the novel but also its structural composition, allowing seemingly disparate episodes to converge and form a cohesive sentence-image, that is, articulation of the “message” of the work materialized in its mode of expression. Through specific narrative techniques, Sebald navigates the intersections between human and nonhuman elements, personal and impersonal experiences, past and present, and ultimately unveils the cyclical patterns of the history of destruction. This study contributes to a deeper understanding of Sebald’s narrative strategies, which, I hope to show, help to reinforce the thematic richness of Vertigo as poignant meditations on memory, trauma, and the relentless passage of time.