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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4311


    Title: 機關、跳針、快門—論西西的小說藝術;mechanism,skip,shutter-the aestheticism of Xi Xi's novel
    Authors: 江千慧;Chien-hui Chiang
    Contributors: 中國文學研究所
    Keywords: 純文字文本;非純文字文本;切分;讀者反應;重複;標點符號;圖像的存在感;not words only;presence of image;repetition;words only;punctuation mark;reader response;literary pause
    Date: 2008-06-24
    Issue Date: 2009-09-22 09:16:20 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 第八屆「花踪文學獎」得主西西,其小說向來以「變化瑰奇」著稱,堪稱華文小說中前衛線上的佼佼者。本論文即聚焦於西西小說中的藝術營構,將所探討的文本分為「純文字」和「非純文字」兩種類型,探究西西如何從中著手美感的布置。首先,我們從純文字文本對句子乃至句式的安排,觀察西西如何在維持正常文本面貌的情況下,讓閱讀的坦途變得機關重重。其次著眼於西西的非純文字文本,但由於這個部分所涉及的範圍略廣,所以我們分作三、四兩章討論:第三章從字裡行間的非文字入手,觀察西西如何藉著標點符號的變體以及簡單的幾何圖形,破壞線性閱讀的流暢性,激發讀者的想像力,同時對純文字敘述進行反叛;第四章則專注討論西西的圖文創作,在本章中,我們先上溯其圖文書寫歷史,藉著六0?九0年代間西西的圖文散文,釐清近四十年來圖文創作的風格變化,然後,再針對文本類型,以「實圖」的有無作區分,觀察西西如何讓無實圖的篇章生發出圖像的存在感,而實際存有圖像的文本,其文字又是如何與圖像相互指涉、相互搭配,齊力打破密閉的故事空間,使得故事之流向讀者這頭漫湧,營造出閱讀的奇異氛圍。 Xi Xi, the winner of the 8th Hwua Tzeng award, is famous for her way of varieties over her writing skills. She is undoubtedly considered as one of the pioneers in writing the mandarin novels among the rest of mandarin authors. While my thesis is truly concentrated on the construction of her aesthetics, the texts in the thesis are divided into two types : “ words only” and “not words only ”, to further talk about how Xi Xi magically lay out the aesthetics. First of all, we anatomize the arrangement , from “ words only” to “sentence” to even “ structure”; I found that Xi Xi transforms the customs into an astonishing reading form. Secondly, compared with “ words only”, “not words only “has been widely used in functioning the writing skills. So I decided to cut it out into two chapters which are The Chapter 3 and The Chapter 4. The Chapter 3 begins with “not words only, which Xi Xi turns over the traditional stream-like reading system by adding the mutations of geometries and the punctuation marks . That stimulates the reader’s imagination as well as rebels “words only”. However, The Chapter 4 actually focus on her creation of the combination of images and writings. In that way I first dived into the general principle of combination of images and writings, with Xi Xi’s poetic image of the time during the 60’s to 90’s in comparison, trying to figure out Xi Xi’s transformation of her writing style within almost forty years. And then, in deep with analogizing the model itself to sort out any possibility by the base of the images. I noticed that how Xi Xi sparks the chemical reaction that comes out any vital novels without any image needed. In opposite, the one with images mingle really well one another to break through the cliché writing fashion, which leaves the fantasy for whomever reads her novels.
    Appears in Collections:[中國文學研究所] 博碩士論文

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