| 摘要: | 本研究旨在從報導、小說、自傳三方角度解讀加拿大法語作家嘉碧耶勒・花（Gabrielle Roy, 1909-1983）於1961年出版的作品《隱山》（La Montagne secrète）。這本小說講述畫家皮耶在加拿大北部與巴黎的藝術追尋旅程，全書融合了構成作者寫作特色的三種元素：報導、小說與自傳。
我們假設，根據書中一段文字以及花的文學創作歷程，《隱山》或許可被視為作家「凝聚寫作經驗於一書」的嘗試之作。一方面，書中寫道：「誰不曾夢想過，在一幅畫中、一本書裡，凝聚所有事物、所有主題；自身的一切：所有經驗……」。另一方面，花的創作生涯可分為兩個階段：首先，她透過報導寫作練習寫作小說；後來，她藉由小說書寫為職涯最終目標之自傳書寫做準備。由於《隱山》的出版時間恰巧位於小說家職涯的中心點，它難道不正處於花三種寫作經驗的交會點？
本論文分為三章，每章分別從報導、小說與自傳三個角度詮釋作品。第一章探討小說近乎紀實地呈現北方地理與人物風情的意圖，並強調其真實書寫與作家早期報導寫作的相似之處。第二章闡明敘事與陳述策略、人物塑造以及自然描繪如何組織故事情節。第三章分析作家在畫家故事中投入自我的線索，包括攸關追尋與創作的互文關係、主題，以及創作此書的潛在動機。
雖然《隱山》佔據花作家生涯的核心位置，並具有重要的主題與風格，但它始終未受到應有的重視。然而，在出版逾半世紀的今日，這部作品仍值得讀者細細品味。因此，本研究企圖從作者的三個寫作面向評析《隱山》在整體與細節、形式與內容層面的巧思。書中，報導、小說與自傳三個面向彼此豐富、相互交織，在嘉碧耶勒・花仍等待完成她那「唯一之作」時，形塑了她獨樹一幟的書寫風格。
;This study focuses on a (re)reading of French-Canadian writer Gabrielle Roy’s novel The Hidden Mountain (1961) from three perspectives: journalistic, novelistic, and autobiographical. These three angles correspond to three different but complementary dimensions that characterize Roy’s writing and coexist in this novel, whose plot centers around the artistic quest of a painter, Pierre, from northern Canada to Paris.
Based on a quote from the novel – “Who has not dreamed, on a single canvas, within a single book, to include once for all the whole object, the whole subject; one’s all, all one’s experience […]” –, we formulate the following hypothesis: from a retrospective point of view, this novel could be considered a pivotal work in which the author incorporates almost all of her writing experiences. Indeed, Roy’s literary journey can be divided into two periods. At the beginning of her career, her journalistic writing allowed her to practice novel writing. Later, by writing novels, she prepared for autobiographical writing, the ultimate goal of her vocation as a writer. Does this novel, which, by chance or by miracle, lies at the “mathematical center” of the author’s career, not precisely mark the point of convergence of the three dimensions of Roy’s writing?
Despite its central place in the novelist’s career and its thematic and stylistic importance, this novel remains relatively unknown, even marginal, among Roy’s fictional works. Nevertheless, more than half a century after its publication, this book still deserves our attention and appreciation. Therefore, our research aims to rediscover The Hidden Mountain, examining its particularities and generalities in terms of both form and content, through an approach that combines three constituent dimensions of the author’s writing: journalistic, novelistic, and autobiographical. These three dimensions enrich and interweave one another to create a style unique to Roy, who, in writing this novel, was surely awaiting the realization of her “only work.” |
