| 摘要: | 提要 本文以夏卡爾於1923-27年間為果戈里長篇代表作《死魂靈》所作之插圖版本為研究對象，並援引巴赫汀嘉年華美學之「荒誕寫實主義」概念，作為貫穿整部繪本的思考主軸。 在法籍畫家夏卡爾豐富的眾多作品中，這部《死魂靈》插圖系列經常以「旅法三部曲之一」簡略帶過。然而，本文藉由與小說文本的平行參照，研究者將發覺插圖不僅再度闡現了畫家本身的創作風格，更以獨特的詮釋角度點明《死魂靈》小說隱藏的面貌。而在一幅幅乍看之下潦草怪誕的速寫圖中，俄國理論家巴赫汀的對話原則與狂歡美學將清楚表明繪者所切入的詮釋角度，此為本論文所企圖嘗試之探索。 在借用文學理論作為圖像解讀的過程中，研究者與畫家本人採取相同立場，將《死魂靈》繪本中的圖與文視為具有獨立平等的地位；小說與插圖於是作為兩種獨立文本，以此進行文本間的交流對話。本文於是以三層面漸進式進行討論；首先說明文本與插圖分別產生的背景淵源，其次就繪者本身之圖示風格，點明《死魂靈》插圖中特殊的圖示手段，以此達成另一層面的「死魂靈」世界。最後重點則為圖文間之交互呼應與詮釋，並闡明兩者如何達成荒誕寫實主義之美學精神。繪本中所展現的複音對話、去尊性、上下錯置、物質變形與開放肉體等等眾多嘉年華特色，將透過四節不同面向的討論加以釐清。 本論文企圖以不同角度重新審視夏卡爾的《死魂靈》插圖，另一方面亦為巴赫汀理論於圖像領域之嘗試應用。於是，在荒誕寫實的狂歡形式下，讀者與作品間的高度對話性於焉產生；在作者、繪者與理論家相似重疊的社會背景中，亦為繪本中的複音形式展開了一場眾聲喧嘩之解讀。 Abstract The subject matter in this thesis is focused on Marc Chagall’s 96 illustrations for Dead Souls, an epic novel by Nikolai Gogol, produced between 1923-27; and to explore all of these illustrations Mikhail Bakhtin’s theory of “grotesque realism” asserted in his carnival aesthetics is largely adopted. Among the numerous artworks of Chagall the French painter, this series of illustration is usually glimpsed as one of the trilogy made in his French years, neither has it been regarded as the representative work of the artist noted for his abundant uses of color and imagination. Nevertheless through the parallelism between text and illustration suggested in this thesis, the researcher is going to discover that these etchings not only re-demonstrate the creative style of the painter himself, but indicate the concealed dimensions of the novel from specific point of interpretation. In each seemingly rough and grotesque caricature, Russian literary theorist M. Bakhtin’s viewpoint of dialogical principle and carnivalism is proved to explain the artist’s ways of interpretation appropriately. In the process of examining iconographs with literary theory, the researcher has chosen the same attitude with the artist himself so as to consider the position of text and illustration as equally independent; the novel and the etchings are taken as two individual texts and thus the dialogues between texts begins. Therefore this thesis is developed as three-chaptered discussion: first, the respective backgrounds of the novel and the illustration; second, the pictorial style of the artist himself in order to point out the specific pictorial techniques in Dead Souls; and last, the inter-dialogue and inner interpretation between word and image, through which the illustrated book had achieved the aesthetics of grotesque realism. All those characteristics of carnival shown in this illustrated book, such as polyphony, degradation, topsy-turvy and the material bodily principal, are demonstrated in four sections of chapter three. The aim of this thesis is to re-consider Chagall’s illustrations for Dead Souls from a new perspective and meanwhile contribute a different application of Bakhtin’s literary theory to the realm of pictorial images. Thus the dialogue between reader and work stems beneath the grotesque form of a joyous carnival, and a multiple interpretation of the polyphonic style of this illustrated book rouses against the similar social background of the author, the illustrator and the theorist. |
