果戈里《死靈魂》道路時空體研究

Abstract

巴赫金的狂歡化和複調理論廣為人知，而他的另一本名著《小說的時間形式和時空體形式》（Формы времени и хронотопа в романе: Очерки по исторической поэтике），知名度相對來說比較低。在此作品中，巴赫金借用愛因斯坦相對論概念，提出「時空體」（хронотоп）理論，將小說時間和空間看成一個不可分割的有機體，強調時間和空間決定體裁和人物形象。本篇論文運用巴赫金時空體理論，分析果戈里《死靈魂》第一部的「道路時空體」特色，研究此書空間結構、時間結構、人際關係、道路和馬車形象等。但是本文做時空體分析時，與巴赫金使用方法稍有不同。對他來說時空體的運用，重要的是時間，而不是空間；本論文的分析，則是將空間置於時間之上，以分析空間為主，時間為輔。

M. Bakhtin`s carnival and theories of dialogism are well known in Taiwan and in the world. But few noticed another book named Novel time form and chronotop, in which he borrowed the Einstein’s theory of relativity and proposed the term chronotop. M. Bakhtin regarded the novel time and the space as an inalienable organism, based on conception of “time as the fourth dimensional space”. Using M. Bakhtin’s “road chronotop” theory, this article analyzes the construction of first part of N. Gogol’s Dead Souls, in view of the spatial and time structure, the image and functions of road and carriage, as well as interpersonal relationship. This article puts more emphasis on space construction in contrast to M. Bakhtin, who thought that time is more important than space in novel structure.