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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/53522


    Title: 一具痛苦的無器官身體:車學敬《聽寫》書寫裡的流變-受虐皮囊與能動力;A Painful Body without Organs: Becoming-Tortured-Skin and Agency in the Writing of Theresa Hak Kyung Cha’s DICTEE
    Authors: 黃郁文;Huang,Yu-wen
    Contributors: 英美語文學研究所
    Keywords: none;Becoming;Deleuze;Body;Pain;Artaud;DICTEE;Rhizome;Lines of Flight;Theresa Hak Kyung Cha;Body without Organs;Guattari
    Date: 2012-08-28
    Issue Date: 2012-09-11 17:50:10 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 摘要作為後殖民文學中的典範,韓裔美籍藝術家車學敬深具實驗性質的作品《聽寫》自90年代開始便在學界引發關注並被廣泛討論。 現有評論在處裡《聽寫》中的身體主題時,皆採取法國女性主義學者西蘇的陰性書寫論述位置,認為車學敬的液態書寫是為顛覆西方父權的大敘述形式,同時反抗枯燥的傳統線性書寫。 基於德勒茲與瓜塔希哲學所啟發的閱讀觀點,我認為在車學敬《聽寫》中所流出的液態疼痛本身就是反抗的能動力,書寫文字則是疼痛的具象肉身。 換言之,本研究欲透過閱讀車學敬充滿痛感的文字與探究文本中影像的並置,來挖掘做為能動力的疼痛如何附著於文字肉身上,以附魔之姿佔據肉身舞台來展演。 本文第一章介紹《聽寫》一書的背景與文獻回顧,試圖爬梳《聽寫》被置放於後殖民與後現代的脈絡中是如何被討論與詮釋。 我相信在車學敬的詩學中,疼痛並非單純指向消極的創傷經驗或悲嘆情緒的抒發。 藉由德勒茲閱讀亞陶作品中身體與疼痛的角度與其所衍生出的「無器官身體」論述,我欲開啟德勒茲式閱讀經驗與車學敬的書寫文字對話,以期壯大《聽寫》中的疼痛。 因此,第二章將討論車學敬書寫中所蘊含的「痛苦掙扎詩學」,強調文本內聽寫與翻譯的處裡是為了讓讀者遇見「裂縫」,而被埋葬已久的液態疼痛透過各處裂縫溢出,讀者得以感受被壓抑的痛苦、強度與流動。 第三章借用德勒茲的「流變-」論述分析車學敬筆下「疼痛的肉身」其實是在一個不停「流變-受虐皮囊」的過程,打破性別、國籍、階級等各式疆界。 掩埋在受折磨的軀體、文本與受難人民皮囊下的疼痛則是流變過程的能量來源。 而本章最終欲在這痛苦的肉身地圖中尋覓多條嶄新的逃逸路線。於結論的第四章,我將重新爬梳、處理德勒茲哲學與藝術之間的關係以呼應研究動機,並同時強調車學敬的書寫是在一個進行中的「流變-」過程。 如同德勒茲在《千重台》中,提及文學機器和無器官身體共有的目的和作用,車學敬的《聽寫》從文字、文體到文本的質地觸感都有如平滑空間般,使得各式各樣的能量與強度在其中跨界流動,以一種根莖式地下互相連結,不斷地碰撞、繁衍。Abstract Considered as a canon of post-colonial literature, Korean American artist Theresa Hak Kyung Cha’s DICTEE has been widely reviewed and discussed since 1990 in the academia. As most of the previous essays have already dealt with the theme of body in DICTEE by using Cixous’ method, l’ecriture feminine, “writing aid to be female,” to suggest Cha’s fluid writing is the subversive resistance against Western patriarchal narratives and linear writing, inspired by Deleuze and Guattari’s philosophy, I argue that the pain in DICTEE is fluid to prove that it is the agency of the resistance.  In other words, this paper delves into the physicality of Cha’s painful writing as well as to interrogate the juxtapositions of the images of the text to explore how the pain “manifests” itself by possessing a bodily form to act out.  Chapter one introduces DICTEE along with discussions on previous literary reviews to show how this text has been placed in the postcolonial and postmodern contexts. Inspired by Deleuzian ways of reading on Artaud’s body and his pain, I expect to empower the pain in DICTEE in that I believe the agony shown in Cha’s poetics of writing does not simply refer to a traumatic and lamenting expression. Therefore, Chapter two focuses on “the poetics of the struggle of pain” to see how Cha manipulates the languages to fill pain within them. I argue that the dictation and translation provided in the text is to make the readers encounter the “cracks” from which the buried and fluid pain can be sensed and from which it flows. Chapter three argues that “the painful body” presented by Cha is in a process of “becoming-tortured- skin” which breaks the limitations of boundaries of gender, nationalities, hierarchy and so on so forth, and is energized by the pain buried under the skin of the tortured body, of the text and of the suffering people.  Eventually, this chapter looks for new lines of flights in a painful body served as a map.Chapter four, the conclusion, engages my motivation to see how the entire work of Cha is an on-going movement of “becoming-” and thus it is what Deleuze calls a literary machine as well as a Body without Organs which is “smooth” enough to be a smooth space and allows all kinds of intensities to flow in order to generate in a rhizomatic attitude.
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