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標題: | 尋找精微個相:布雷克與寓言體 In Search of Minute Particulars: William Blake and Allegory |
作者: | Chi-Fang Chen 陳麒方 |
指導教授: | 吳雅鳳(Ya-Feng Wu) |
關鍵字: | 布雷克,寓言,精微個相, William Blake,allegory,minute particular, |
出版年 : | 2009 |
學位: | 碩士 |
摘要: | 本論文延續近年布雷克(William Blake)研究的歷史化典範,即重視其歷史脈絡如何形塑布雷克的思想及詩學,以及布雷克作為當代的基進派如何透過其文學實踐批判當代的意識形態。然而,此一典範中對於詩學形式的研究之不足尚待彌補。本論文宣稱形式乃意識形態的載體,此形式形塑了社會文本及其論述霸權。本論文所探討的形式即為寓言體,並將寓言體視為不只是一種文學文類,而是一種思考模式與論述形式:此形式具有隱喻及換喻的雙重性,在語義上有互文性及多義性。十七世紀以來寓言體的形式漸漸由隱喻及換喻的雙重性,轉為換喻的一元性,並經由洛克(John Locke)、柏克(Edmund Burke)、潘恩(Tom Paine)迄柯立芝(S. T. Coleridge) 建立起一個具保守主義特徵的,意識形態的形式霸權。本論文以布雷克的《耶路撒冷》(Jerusalem)與《拉奧孔》(Laocoön )兩作品為例,探討布雷克對寓言體的使用如何形成一意識形態批判,抵抗當代的形式霸權。並將探討布雷克「精微個相」的概念與此一概念的詩學實踐如何改造寓言體,恢復其隱喻及換喻的雙重性,並成為他的基進詩學的基礎。 Two of the paradigms in William Blake scholarship – analyzing the inner structure of Blake’s symbolism and contextualizing Blake in his time, can be integrated in an ideological criticism. The poetic form in Blake is profoundly associated with the eighteenth-century radicalisms their conservative counter-forces. Blake’s discursive interaction with his time is as much reflected in the content, the direct statements of his thought, as in his form, which is the major carrier of his critique of contemporary ideology. The form on which this thesis concentrates is allegory, which reflects the contemporary ideology most profoundly. From seventeenth to eighteen century there emerge anxieties about and suspicions of allegorical expressions and its effectuality and authenticity to facilitate and secure genuine communication and the acquisition of knowledge. Allegory, as a form of expression encompassing multiple levels of meaning and confounding disparate materials, has become a threat to clear knowledge and unalienated communication. Blake wrote at a time of the crisis in allegory, which lost its supremacy at the rise of rationalism and neoclassicism from the seventeenth to the eighteenth century. The first chapter surveys several important cultural and intellectual paradigms such as puritan aesthetics, neoclassicism and some linguistic organicisms to demonstrate the increasing anxiety about the allegorical form and the nascent preference for a certain form of allegory. It then concentrates on some key thinkers such as John Locke, Edmund Burke, S. T. Coleridge and Tom Paine to see how the anxiety about allegory is constitutive of their thinking and what they provide as the solution. It argues specifically that these individual thinkers virtually contribute to a hegemony of the metonymic dimension of allegory by downplaying its metaphoric complexity. In counteracting the hegemony, Blake develops the idea of the minute particular with two later works, Jerusalem and Laocoön, which are discussed in chapter two and three respectively. By the allegorical as well as counter-allegorical techniques of parataxis, repetition, and dramatization in Jerusalem, Blake presents a rich array of minute particulars that question and react to the ideologies and politics and counters the hegemony from neoclassicism to the prestige of metonymic allegory. This rhetorical politics is advanced in Laocoön, in which the very nature of allegory is taken into question. The third chapter on Laocoön demonstrates how Blake makes his allegorical style a self-undoing irony, and realizes a main source of the contemporary politics of allegory, money and the commodity culture. All these formal manipulations or experimentations are Blake’s poetic commitment to searching for the minute particulars – the troubling, haunting residues that threaten allegorical purity and force an ongoing dialectics and dynamics. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/8906 |
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顯示於系所單位: | 外國語文學系 |
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