內與外的迂迴: 簡愛的詩意與政治

Abstract

《簡愛》如同吳爾芙所說的「強烈的自我中心性格」、借力於詩意的雄渾寫景、狹窄的力度，這些特質標誌著《簡愛》或夏綠蒂勃朗蒂獨樹一幟的文體風格。此外據吳爾芙的剖析，十九世紀英國女作家所寫小說必然受到狹窄的生活經驗所影響，作者性格總通過某種個人的因素而被清楚的意識。本文一方面通過現象學式的稠密閱╱寫對《簡愛》這部小說的上述特質加以印證、詮釋；同時也在性別政治脈絡的還原過程中將寫作活動的理論引曵回歷史情境，為文化情境中所謂「局部壓抑」的迷思做預先的鋪陳。在方法上，本文首先根據《簡愛》的「空間」與「物」的呈現╱陳列特質，演繹出該作品內建「狹窄的自我中心性」，這個中心是以童年的場景作為整部小說的詩意原型，同時整部小說也以摧毀童年夢靨原型為逆轉點。在詳細的分析後我們將發現，勃朗蒂竟是十分勉強地安排性別政治的標準價值，愛情與婚姻的價值、情感的脆弱、家庭事物的價值…這一切在《簡愛》這部小說裡，在通過帶著現象學傾向的分析後，我們將一一發現作者曾試圖想消除、重寫那些標準價值的痕跡，同時也發現那些不穩定的、不一致的事件串連事實上是通過「視覺物」被讀者的預設所任意完整化的。一當經過仔細的分析後我們發現這部故事並未以因果的方式開展出結果，反而我們發現一個又一個的空間為不存在的主體進行補充試圖刻畫出一個新的女性標準。綜觀《簡愛》整部作品可演繹出以下敘事模式與原則：fiction(構作)—simulation（擬仿）—supplement/ reverse (補充/逆轉)。本文認為這個敘事原則在過去採取精神分析假設與後殖民論述立場的分析裡被嚴重忽略，甚至扭曲女性書寫活動裡的情緒張力成為帝國慾望的再現；本文以顛倒順\r\n序的閱讀方式重行分析出上述勃朗蒂的敘事模式，也提出非線共時平\r\n面觀點的閱╱寫分析。

Virginia Woolf points out that the circumstances which affected an author’s character may have left their traces on their work; therefore, the writings of nineteenth-century female writers are arguably affected by their limited life experience. In an effort to analyse the self-enclosure in Jane Eyre, this thesis first examines the theme of narrowness by employing a method of phenomenological thick reading/writing. I will argue that Jane Eyre constructs Jane’s childhood as a poetic prototype and centres on the end of Jane’s childhood nightmare as a turning point. Moreover, after close analysis of the text, it will be found that Brontë manages to arrange the standard of sexual politics, the value of family, love, and marriage with difficulty. By applying a phenomenological reading, we will find traces that the author tries to erase or rewrite these values. The reading of materiality, silence, space, and conflict within texts will open up extremely productive ways of studying the politics of language. The inconsistency, rupture, and disjunction of incidents are freely associated as a unity, a consistent novel by readers through the appearance of objects, and the plot of Jane Eyre is not based upon cause-and-effect. The narrative mode of Jane Eyre can be interpreted as fiction-simulation-supplement/reverse. The centrality of this narrative technique to Brontë’s work has received little attention in psychoanalytic or postcolonial criticism, both of which often interpret the intensity of feeling of the novel as the embodiment of imperial desire. By employing a non-linear reading of Jane Eyre, I will examine the narrative in reverse order, trying to establish a new platform for the infinite interplay between author, reader, and characters.