| 摘要: | 1943年，法國飛行員作家聖修伯里(Saint-Exupéry)在二次大戰期間用法文撰寫的《小王子》(Le Petit Prince)在美國紐約以英文版問世，約一個月後，同樣在紐約，法文版出版。這本聖修伯里，甚至也許是法國文學中，最暢銷的作品，出版情況便和當時大戰的氛圍與情況息息相關。 直至今日，大戰烽火消散，《小王子》魅力仍在，閱讀方式不斷推陳出新；音樂劇，DVD，相關禮品與紀念網站，大多數讀者視此書為讓人看見自己純真心靈的成人童話，然而，類似這樣的“省思”似乎成了這部作品唯一的解釋，讀者忘卻了或簡化大戰的背景，陳腔濫調的詮釋似乎使它難以再躋於文學研究殿堂，但為何這本近乎只有一種陳腐詮釋的“簡單”作品能享名至今？我們最大的研究動機與目的便是期盼嘗試用其他角度閱讀，也顯現此書多樣性閱讀模式樂趣外，另一種視野的閱讀樂趣。我們發現一位當時代的歷史家也是哲學家—赫引津哈(Johan Huizinga, 1872-1945) —用遊戲性分析大戰當時代各種現象的理論，讓此論文不僅能從遊戲性觀點找出閱讀《小王子》及其商品現象的新視野，也能與大戰背景緊緊相扣。 本研究的第一章，主要先解釋何謂「遊戲」，以及他對於當代社會與傳統習俗的一些比較與評論，大部份是從他寫的《遊戲的人》(Homo Ludens,1938)和他的研究追隨者，蓋洛(Roger Caillois, 1913-1978)寫的《人類與遊戲》(Les hommes et les jeux, 1958)兩書，歸結遊戲的特點作為進入《小王子》遊戲世界的鑰匙。第二章開始逐一分析作品中成功與失敗的遊戲關係和類型—缺乏氛圍的遊戲，僵硬的遊戲以及和諧的遊戲。第三章中，因為作者、主角和讀者的模糊界線，使我們對於此書遊戲世界的分析可以從文本擴大到作者致謝詞與閱讀規則、作者生活和多樣商品與作者驟逝的衝擊，其中作者二次大戰中生活的資料因為在台灣不足，我們多從法國蒐集而來，商品研究的部份，則橫跨網站商品與網路報導。 此研究所探討的豐富遊戲性也著實存在於今日社會中，但對於處在動盪時代的《小王子》一書及作者，還有一層更貼近當時代的意義，也是我們在本論文結論中說明的：我們所領悟到的，也許是聖修伯里在那個時代，為文明中某些和諧美好精神消逝的感慨嘆息。 In 1943, the English version of The Little Prince – originally written in French by Saint-Exupéry, a French pilot-writer, during World War II – was published in New York in the United States. About one month later, the French version was subsequently published at the same place. The publication of this bestseller for Saint, even for French literature, was closely related to the atmosphere and circumstances of war at that time. In nowadays, the flames of War have been eliminated, but the appeal of The Little Prince has still existed. The ways of reading is changing constantly in the forms of musical plays, DVD, merchandise as well as websites. Most people regard this book as an adult fairy tale that reflects interior innocence in them; however, such “reflection” seems to become the only interpretation of this literature. His context of the War is disregarded and simplified by readers. Such cliché like interpretation of The Little Prince seems to makes it embarrassed in the advanced research of literature. Nevertheless, how does a “simple” fairy tale with a hackneyed interpretation can become popular and well-known for more than half century? Our motivation and purpose in this research are finding another way to reread The Little Prince and interpret his merchandising phenomenal. That is a sort of reading pleasure, in addition to the pleasure from diverse modes of the literature. Based on analyses of the phenomenal in the society at the time of War through the perspective of play-element by Johan Huizinga (1872-1945), a historian as well as a philosopher, we discovered not only a new direction to read the literature and his merchandising phenomenal, but also a perspective that is closely relative to the War. In the first chapter of this study, we explained the characteristics of the “play”. In addition, we also treated some critics of Huizinga about the society in the World War II and the customs in the traditional age. The characteristics of the “play”, which is a key to access to the world of The Little Prince, are mainly deduced from Homo Ludens (1938) written by Huizinga and Les jeux et les hommes (1958) written by his successor, Roger Caillois (1913-1978). In the second chapter, we explored different relations and types of the play – play without ambiance, stiff play, and harmonious play in the literature. In the third chapter, because of the ambiguous limit among the author, the characters and the readers, our study field about the play-element was extended from the text to the reception of readers. This section includes the rules of play and the dedication, the life of the author, the impacts of the truth of Saint’s death and the diversity of merchandise. We collected in France resources regarding the life of Saint-Exupéry during the Second World War because of their shortage in Taiwan. And the research about the merchandise covers the merchandise and the reports on Internet. The rich play-element that discussed in this thesis exists in the society today too. However, for The Little Prince and its author, we understood a sense close to that time —we have concluded in the thesis — what we realized is maybe the sight for the disappearance of some harmonious relations of civilization in Saint-Exupéry’s era. |
