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| 論克洛德‧西蒙的小說藝術 |
| On Claude Simon’s Fictional Art |
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| 作者 |
楊令飛 |
| Author |
Lingfei Yang |
| 關鍵詞 |
克洛德‧西蒙、
神話、
個人意識、
物化、
文學與藝術雙向交流
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| Keywords |
Claude Simon,
myths,
individual consciousness,
alienation,
mutual infiltration and mutual containment between literature and art
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| 摘要 |
克洛德‧西蒙小說藝術的特色主要體現在個人意識統領小說佈局；物的「人性化」與人物的「物化」；不同藝術門類的雙向交流以及小說中蘊含諸多神話因素等幾個方面。個人意識構成了西蒙小說的原材料，使其能夠從不同角度、以不同方式藝術地再現事物，展現事物的真實。小說中的「物化」世界表現了作者從自己的角度對「物化」的抗爭以及對自己所植根的二十世紀資本主義「物化」社會意識形態的尖銳抨擊。不同藝術門類的雙向交流營造了文學與藝術多元互補的格局，實現了詩與藝術的互動之美。而借助神話審視現實、批判現實、超越現實，由「現實世界」走向「心靈世界」，則表達了作者對未知世界的探究和對美好未來 的訴求。 |
| Abstract |
Based on previous studies and further comparative analyses of Claude Simon’s works, this article attempts to explore, from various angles, several characteristics of Simon’s fictional art. One striking feature is that his novels do not tell a whole story in the chronological order like the traditional fictions. Furthermore, they do not even portray some traditional personages. Another feature is that an individual consciousness commands his fictional composition and reveals the truth of reality. An “alienation” from the real world prepares the soil for Simon to actualize himself as a novelist and to exercise his struggle against the ideology of “alienation” in the 20th century. Simon’s novels actually are a new-type of narrative form with a profound interest in literature and art, in which the readers can deeply experience the pluralistic phenomena of mutual infiltration and mutual containment. Besides, the skillful use of occidental myths in his works is in fact the writer’s extreme appeal for the research of an unknown world and the pursuit of a glorious future. |
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