體驗貝克特：阿多諾、海德格、伊瑟爾、及《等待果陀》與《終局》裡文學技法的運作

Abstract

本文透過結合馬丁‧海德格和狄奧多‧阿多諾的哲學與沃夫岡‧伊瑟爾的讀者反應理論分析山謬爾‧貝克特在劇作《等待果陀》與《終局》中使用的文學技法。為了補足貝克特研究中對貝克特文學技法中哲學探討的缺乏，我聚焦於貝克特技法所形成的邀請─挫敗─認知模型（IFR）。透過分析IFR，我論證貝克特作品中的存有學與政治學重要性在於讀者將會體驗與認知到詮釋的極限、我們對意義的需求。我們對意義的需求根植於我們的存有學結構，並且此需求很容易被政治操弄。貝克特、海德格、阿多諾、與伊瑟爾都對此存有─政治學問題進行分析。對他們來說，這個問題體現在普遍性與個體之間的關係中──兩者的關係在普遍性將自己強加在個體上時出了問題，這種關係體代表一種將自己強加於現象上的詮釋，並且這種詮釋會排除其他可能的詮釋方式。這個問題深植於現代性（政治）對我們存有學上對意義的需求之中。透過分析貝克特與哲學家們對此問題的解方──藝術的救贖力量，本論文調解貝克特的文學與哲學、貝克特與海德格、貝克特與阿多諾、阿多諾與海德格，以及普遍性與個體。為達成此調解，本文分析貝克特各殊文學技法如何得到普遍性的意義，將優先性歸於各殊個體而非抽象的普遍性上。

This thesis analyzes the working of literary devices in Samuel Beckett’s plays, Waiting for Godot and Endgame, with Martin Heidegger’s and Theodor Adorno’s philosophy in a complemented version of Wolfgang Iser’s reader-response theory. Aiming to complement the needed reconciliation between Beckett and philosophy through literary devices in the current studies, I focus on the invitation-frustration-recognition (IFR) model of Beckett’s use of literary devices. With the IFR model, I argue that the ontological and political significance of Beckett’s art lies in the audience’s experience and recognition of the limits of interpretation, our need for meaning. Our need for meaning is our ontological structure and can be manipulated politically. Beckett, Heidegger, Adorno, and Iser try to analyze this ontologico-political problem. To them, this problem is embodied by the problematic relationship between the universal and the particular—an interpretation imposes itself upon phenomena while driving out other possible ways of interpretation. This is a problem that resides in modernity’s abuse (politics) of our ontological need for meaning. Examining their solution—the saving power of art, this thesis reconciles Beckett’s literature and philosophy, Beckett and Heidegger, Beckett and Adorno, Adorno and Heidegger, and the universal and the particular by grasping the universal significance in Beckett’s particular uses of literary devices.