閱讀與旅「圖」：析論《番號四十九的拍賣》

Abstract

自一九六六年付梓以來，聘瓊的短篇小說《番號四十九的拍賣》中超現實的敘述技巧，以及科學、文學領域相互交織、對話的風格，一直是批評家立文探究的重點。批評家對聘瓊技巧的純熟以及風格的艱澀，給予高度的肯定。另外，批評家也推崇其對後現代小說發展的貢獻。本論文分成四章：首章討論女主角伊蒂帕．瑪絲如何成功地顛覆父權建構的被動身分；並且繪建女性自主性及書寫女性歷史。第二章討論本小說如何藉「縫隙」牽引讀者的想像力，並且讓讀者和聘瓊進行一場想像力的競技。第三章指出小說豐富的隱喻語言有助於想像力的馳騁及意義的繪建，閱讀行為即是書寫創作。第四章討論聘瓊的歷史觀：他揭櫫了歷史的虛構性，歷史不再是客觀的真理，而僅是歷史學者主觀意識及權力運作的產物。結論則指出「陰謀」是本小說最重要的主題。另外，「偏執狂」式的閱讀或「顛覆性」的閱讀乃是聘瓊的讀者所需具備的態度。讀者反應理論是本論文遵循的分析方法。本論文主張閱讀行為乃是想像力之旅。於閱讀的旅程中，讀者必須成為「偏執狂」，展現顛覆的精神，才是詮釋的真諦。

Since its publication in 1966, Pynchon`s short novel The Crying of Lot 49 has received considerable attention and discussion from critics. They are largely concerned with Pynchon`s narrative technique of surrealism and his style of inter-disciplinarity. Pynchon`s mature technique along with his style of elusiveness is highly celebrated. In addition, Pynchon`s notable contribution to the development of postmodernist fiction is also recognized and respected by critics.