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題名 論大衛·米切爾《雲圖》中的多重體裁：超越敘事準則
Multiple Genres in David Mitchell’s Cloud Atlas: Beyond the Narratological Norm作者 許媁涵
Hsu, Wei-Han貢獻者 邱彥彬
Chiou, Yen-Bin
許媁涵
Hsu, Wei-Han關鍵詞 大衛·米切爾
《雲圖》
體裁
浸入式劇場
劇場的
變動的位置
多樣性
結構
David Mitchell
Cloud Atlas
Genre
Immersive theater
Theatrical
Mutable position
Multiplicity
Structure日期 2020 上傳時間 2-Sep-2020 11:34:45 (UTC+8) 摘要 本論文旨在探討大衛·米切爾 (David Mitchell) 的小說《雲圖》中的體裁，其敘事結構上的多元性。大衛·米切爾於《雲圖》中敘述六個故事，採用六個體裁，利用將故事中斷的展開方式連結多個故事角色的生命故事。故事角色們來自不同身份、性別、國家、時代背景，且角色間並無直接接觸，卻藉由觀看接收，觸動了角色間的連結，推動故事進行。由於此小說敘事結構上的多重複雜性，綜觀過去批評家的評論從不同論點出發試圖歸類此小說的複雜的敘事結構，因難用單一種學說將其定義，而使得《雲圖》在體裁的歸類上尚未出現一致的共識。《雲圖》結構上有著許多後設元素，卻仍存在著無法單以後設小說解釋的觀點。而本論文試圖基於此觀點，加入浸入式劇場 (Immersive Theater)的角度，用以解釋結構上中斷帶來讀者選擇的效果、角色們於不同故事中位置的變動，以及貫穿於整本小說中的主題性。此論點的加入，得以解釋《雲圖》中多重文本的設置、文本敘事中斷進而提供讀者的選擇權、以及主要角色身兼說話者與觀看者的特性，冀提供讀者在《雲圖》結構的多元性有新的詮釋視角。
This thesis explores the narratological structure in David Mitchell`s Cloud Atlas. The novel is divided into six individual stories, each told in a different generic mode and each focusing on a different protagonist; these six protagonists come from different countries and social backgrounds, hold different religious or political beliefs, and have very different life stories. Each protagonist develops a connection to the previous story’s protagonist by interacting with a specific item such as a journal, a film, music, etc. featured in the preceding story. By absorbing information from these items, the protagonists connect to one and another, and each story becomes an essential movement in the broader storyline. Critics have analyzed Cloud Atlas from various perspectives, but the novel’s generic multiplicity makes defining it as a part of a specific genre difficult. Indeed, critics have not reached a consensus about the novel’s genre. Even though Cloud Atlas has some metafictional elements, it contains other characteristics that do not fit this classification. Based on this point, this thesis adopts a theatrical angle and points out the similarities between Cloud Atlas’ structure and that of immersive theater to explain how the interruptive narration enables readers to choose their preferred reading sequence, places the protagonists in mutable positions that allow them to function as both speakers and spectators, and facilitates thematic consistency throughout these six distinct stories. In utilizing this theatrical angle to examine the structure of Cloud Atlas, this thesis elucidates the effect of interruptive narration, the transfer of authorship to readers, and the protagonists’ mutable positions in the novel, thereby providing readers a new way of understanding the narratological structure in Cloud Atlas.參考文獻 Works CitedAbbott, Horace Porter. The Cambridge Introduction to Narrative. Cambridge: Cambridge UP, 2011.Ball, David. Backwards and Forwards : A Technical Manual for Reading Plays. Carbondale: Southern Illinois UP, 2017.Barrett, Felix. “Remix Summit: Experience Economy: Creating Extraordinary Moments and Stories that Get People Talking.” YouTube, 2014, www.youtube.com/ watch?v=xCRcuHiDEYs.Begley, Adam. “David Mitchell, The Art of Fiction No. 204.” Paris Review, vol.52, no.193, 2010, pp.169-201.Bentley, Nick. “Trailing Postmodernism: David Mitchell’s Cloud Atlas, Zadie Smith’s NW, and the Metamodern.” English Studies, vol. 99, no. 7, 3 Oct. 2018, pp. 723-743, doi: 10.1080/0013838x.2018.1510611. Accessed 10 Dec. 2019.Biggin, Rose. Immersive Theatre And Audience Experience : Space, Game and Story in the Work of Punchdrunk. Palgrave MacMillan, 2018.Blackwell, Mark. “Experimental Fictions.” A Companion to the English Novel, edited by Stephen Arata, et al. Wiley-Blackwell, 2015, pp.144-157.Brown, Kevin. “Finding Stories to Tell: Metafiction and Narrative in David Mitchell’s Cloud Atlas.” Journal of Language, Literature and Culture, vol. 63, no. 1, 2 Jan. 2016, pp. 77-90, doi: 10.1080/20512856.2016.1152078. Accessed 20 Oct. 2019.Calvino, Italo. If on a Winter’s Night a Traveller. Vintage, 2007.Cobb, Christy. Slavery, Gender, Truth, and Power in Luke-Acts and Other Ancient Narratives. Palgrave Macmillan, 2019.Dinesh, Nandita. Memos from a Theatre Lab : Spaces, Relationships, and Immersive Theatre. Vernon Press, 2018.Heim, Caroline. Audience as Performer: The Changing Role of Theatre Audiences in the Twenty-First Century. Routledge, 2016.Jordan, Justine. “Second Out.” Preview 2004: Fiction. The Guardian, 27 Dec. 2003, www.theguardian.com/books/2003/dec/27/featuresreviews.guardianreview9. Accessed 10 Nov. 2020.Kruger, Charles. “Review: The Speakeasy (*****).” Review of Speakeasy, directed by Nick Olivero. Theatre Storm, 2 Mar. 2014, theatrestorm.com/2014/03/02/ review-the-speakeasy/ Accessed 15 Mar. 2020.McMorran, Will. “Cloud Atlas and If On a Winter’s Night a Traveler: Fragmentation and Integrity in the Postmodern Novel.” David Mitchell : Critical Essays, edited by Sarah Dillon, Gylphi, 2011, pp. 274-309.Mitchell, David. Cloud Atlas. Random House, 2012.---. “Guardian Book Club: Cloud Atlas by David Mitchell.” The Guardian, 11 June 2010, www.theguardian.com/books/2010/jun/12/book-club-mitchell-cloud-atlas. Accessed 10 Nov. 2020.Mullan, John. “Cloud Atlas: The Multi-Genre Novel.” The Guardian, 26 Mar. 2005, www.theguardian.com/books/2005/mar/26/fiction.davidmitchell. Accessed 15 Dec. 2019.O’Donnell, Patrick. A Temporary Future : The Fiction of David Mitchell. Bloomsbury Academic, 2015.Peberdy, Donna. “Narrative Trans-Actions: Cloud Atlas (2012) and Multi-Role Performance in the Global Ensemble.” Transnational Cinemas, vol. 5, no. 2,3 July 2014, pp. 167-180, doi: 10.1080/20403526.2014.960775. Accessed 12 Dec. 2019.“predatory, adj.” Cambridge Dictionary Online. Cambridge UP, 2020.dictionary. cambridge.org/us/dictionary/english/predatory.Accessed 16 July 2020.“predation, n.” Cambridge Dictionary Online. Cambridge UP, 2020.dictionary.cambridge.org/us/dictionary/english/predatory.Accessed 16 July 2020.Prudhon, Deborah. “Punchdrunk’s Immersive Theatre: From the End to the Edge.” Sillages Critiques, no. 24, 1 July 2018, journals. openedition.org/sillages- critiques /6341. Accessed 18 May 2020.Schneeberger, Aaron Francis. “The Genre Spaces of David Mitchell’s Cloud Atlas.” College Literature, vol. 46, no. 3, 2019, pp. 543-572, 10.1353/lit.2019.0026.Accessed 4 Jan. 2020.Shoop, Casey, and Dermot Ryan. “‘Gravid with the Ancient Future’: Cloud Atlas and the Politics of Big History.” SubStance, vol. 44, no. 1, 2015, pp. 92-106,doi: 10.1353/sub.2015.0011. Accessed 20 Nov. 2019.Warren, Jason. Creating Worlds: How to Make Immersive Theatre. Nick Hern Books, 2017.Waugh, Patricia. Metafiction. Routledge, 2013. 描述 碩士
國立政治大學
英國語文學系
106551012資料來源 http://thesis.lib.nccu.edu.tw/record/#G0106551012 資料類型 thesis dc.contributor.advisor 邱彥彬 zh_TW dc.contributor.advisor Chiou, Yen-Bin en_US dc.contributor.author (Authors) 許媁涵 zh_TW dc.contributor.author (Authors) Hsu, Wei-Han en_US dc.creator (作者) 許媁涵 zh_TW dc.creator (作者) Hsu, Wei-Han en_US dc.date (日期) 2020 en_US dc.date.accessioned 2-Sep-2020 11:34:45 (UTC+8) - dc.date.available 2-Sep-2020 11:34:45 (UTC+8) - dc.date.issued (上傳時間) 2-Sep-2020 11:34:45 (UTC+8) - dc.identifier (Other Identifiers) G0106551012 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/131443 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 英國語文學系 zh_TW dc.description (描述) 106551012 zh_TW dc.description.abstract (摘要) 本論文旨在探討大衛·米切爾 (David Mitchell) 的小說《雲圖》中的體裁，其敘事結構上的多元性。大衛·米切爾於《雲圖》中敘述六個故事，採用六個體裁，利用將故事中斷的展開方式連結多個故事角色的生命故事。故事角色們來自不同身份、性別、國家、時代背景，且角色間並無直接接觸，卻藉由觀看接收，觸動了角色間的連結，推動故事進行。由於此小說敘事結構上的多重複雜性，綜觀過去批評家的評論從不同論點出發試圖歸類此小說的複雜的敘事結構，因難用單一種學說將其定義，而使得《雲圖》在體裁的歸類上尚未出現一致的共識。《雲圖》結構上有著許多後設元素，卻仍存在著無法單以後設小說解釋的觀點。而本論文試圖基於此觀點，加入浸入式劇場 (Immersive Theater)的角度，用以解釋結構上中斷帶來讀者選擇的效果、角色們於不同故事中位置的變動，以及貫穿於整本小說中的主題性。此論點的加入，得以解釋《雲圖》中多重文本的設置、文本敘事中斷進而提供讀者的選擇權、以及主要角色身兼說話者與觀看者的特性，冀提供讀者在《雲圖》結構的多元性有新的詮釋視角。 zh_TW dc.description.abstract (摘要) This thesis explores the narratological structure in David Mitchell`s Cloud Atlas. The novel is divided into six individual stories, each told in a different generic mode and each focusing on a different protagonist; these six protagonists come from different countries and social backgrounds, hold different religious or political beliefs, and have very different life stories. Each protagonist develops a connection to the previous story’s protagonist by interacting with a specific item such as a journal, a film, music, etc. featured in the preceding story. By absorbing information from these items, the protagonists connect to one and another, and each story becomes an essential movement in the broader storyline. Critics have analyzed Cloud Atlas from various perspectives, but the novel’s generic multiplicity makes defining it as a part of a specific genre difficult. Indeed, critics have not reached a consensus about the novel’s genre. Even though Cloud Atlas has some metafictional elements, it contains other characteristics that do not fit this classification. Based on this point, this thesis adopts a theatrical angle and points out the similarities between Cloud Atlas’ structure and that of immersive theater to explain how the interruptive narration enables readers to choose their preferred reading sequence, places the protagonists in mutable positions that allow them to function as both speakers and spectators, and facilitates thematic consistency throughout these six distinct stories. In utilizing this theatrical angle to examine the structure of Cloud Atlas, this thesis elucidates the effect of interruptive narration, the transfer of authorship to readers, and the protagonists’ mutable positions in the novel, thereby providing readers a new way of understanding the narratological structure in Cloud Atlas. en_US dc.description.tableofcontents Table of ContentsAcknowledgments iiiChinese Abstract vEnglish Abstract viiChapter1.Introduction 1Literature Review 6Methodology 9Organization of Chapters 122.The Intertwined Plotlines in Cloud Atlas 153.The Optional Reading Pattern in Cloud Atlas 334.The Consistent Theme: Predatory Behaviors 455.Conclusion 59Works Cited 63 zh_TW dc.format.extent 798773 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0106551012 en_US dc.subject (關鍵詞) 大衛·米切爾 zh_TW dc.subject (關鍵詞) 《雲圖》 zh_TW dc.subject (關鍵詞) 體裁 zh_TW dc.subject (關鍵詞) 浸入式劇場 zh_TW dc.subject (關鍵詞) 劇場的 zh_TW dc.subject (關鍵詞) 變動的位置 zh_TW dc.subject (關鍵詞) 多樣性 zh_TW dc.subject (關鍵詞) 結構 zh_TW dc.subject (關鍵詞) David Mitchell en_US dc.subject (關鍵詞) Cloud Atlas en_US dc.subject (關鍵詞) Genre en_US dc.subject (關鍵詞) Immersive theater en_US dc.subject (關鍵詞) Theatrical en_US dc.subject (關鍵詞) Mutable position en_US dc.subject (關鍵詞) Multiplicity en_US dc.subject (關鍵詞) Structure en_US dc.title (題名) 論大衛·米切爾《雲圖》中的多重體裁：超越敘事準則 zh_TW dc.title (題名) Multiple Genres in David Mitchell’s Cloud Atlas: Beyond the Narratological Norm en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) Works CitedAbbott, Horace Porter. The Cambridge Introduction to Narrative. Cambridge: Cambridge UP, 2011.Ball, David. Backwards and Forwards : A Technical Manual for Reading Plays. Carbondale: Southern Illinois UP, 2017.Barrett, Felix. “Remix Summit: Experience Economy: Creating Extraordinary Moments and Stories that Get People Talking.” YouTube, 2014, www.youtube.com/ watch?v=xCRcuHiDEYs.Begley, Adam. “David Mitchell, The Art of Fiction No. 204.” Paris Review, vol.52, no.193, 2010, pp.169-201.Bentley, Nick. “Trailing Postmodernism: David Mitchell’s Cloud Atlas, Zadie Smith’s NW, and the Metamodern.” English Studies, vol. 99, no. 7, 3 Oct. 2018, pp. 723-743, doi: 10.1080/0013838x.2018.1510611. Accessed 10 Dec. 2019.Biggin, Rose. Immersive Theatre And Audience Experience : Space, Game and Story in the Work of Punchdrunk. Palgrave MacMillan, 2018.Blackwell, Mark. “Experimental Fictions.” A Companion to the English Novel, edited by Stephen Arata, et al. Wiley-Blackwell, 2015, pp.144-157.Brown, Kevin. “Finding Stories to Tell: Metafiction and Narrative in David Mitchell’s Cloud Atlas.” Journal of Language, Literature and Culture, vol. 63, no. 1, 2 Jan. 2016, pp. 77-90, doi: 10.1080/20512856.2016.1152078. Accessed 20 Oct. 2019.Calvino, Italo. If on a Winter’s Night a Traveller. Vintage, 2007.Cobb, Christy. Slavery, Gender, Truth, and Power in Luke-Acts and Other Ancient Narratives. Palgrave Macmillan, 2019.Dinesh, Nandita. Memos from a Theatre Lab : Spaces, Relationships, and Immersive Theatre. Vernon Press, 2018.Heim, Caroline. Audience as Performer: The Changing Role of Theatre Audiences in the Twenty-First Century. Routledge, 2016.Jordan, Justine. “Second Out.” Preview 2004: Fiction. The Guardian, 27 Dec. 2003, www.theguardian.com/books/2003/dec/27/featuresreviews.guardianreview9. Accessed 10 Nov. 2020.Kruger, Charles. “Review: The Speakeasy (*****).” Review of Speakeasy, directed by Nick Olivero. Theatre Storm, 2 Mar. 2014, theatrestorm.com/2014/03/02/ review-the-speakeasy/ Accessed 15 Mar. 2020.McMorran, Will. “Cloud Atlas and If On a Winter’s Night a Traveler: Fragmentation and Integrity in the Postmodern Novel.” David Mitchell : Critical Essays, edited by Sarah Dillon, Gylphi, 2011, pp. 274-309.Mitchell, David. Cloud Atlas. Random House, 2012.---. “Guardian Book Club: Cloud Atlas by David Mitchell.” The Guardian, 11 June 2010, www.theguardian.com/books/2010/jun/12/book-club-mitchell-cloud-atlas. Accessed 10 Nov. 2020.Mullan, John. “Cloud Atlas: The Multi-Genre Novel.” The Guardian, 26 Mar. 2005, www.theguardian.com/books/2005/mar/26/fiction.davidmitchell. Accessed 15 Dec. 2019.O’Donnell, Patrick. A Temporary Future : The Fiction of David Mitchell. Bloomsbury Academic, 2015.Peberdy, Donna. “Narrative Trans-Actions: Cloud Atlas (2012) and Multi-Role Performance in the Global Ensemble.” Transnational Cinemas, vol. 5, no. 2,3 July 2014, pp. 167-180, doi: 10.1080/20403526.2014.960775. Accessed 12 Dec. 2019.“predatory, adj.” Cambridge Dictionary Online. Cambridge UP, 2020.dictionary. cambridge.org/us/dictionary/english/predatory.Accessed 16 July 2020.“predation, n.” Cambridge Dictionary Online. Cambridge UP, 2020.dictionary.cambridge.org/us/dictionary/english/predatory.Accessed 16 July 2020.Prudhon, Deborah. “Punchdrunk’s Immersive Theatre: From the End to the Edge.” Sillages Critiques, no. 24, 1 July 2018, journals. openedition.org/sillages- critiques /6341. Accessed 18 May 2020.Schneeberger, Aaron Francis. “The Genre Spaces of David Mitchell’s Cloud Atlas.” College Literature, vol. 46, no. 3, 2019, pp. 543-572, 10.1353/lit.2019.0026.Accessed 4 Jan. 2020.Shoop, Casey, and Dermot Ryan. “‘Gravid with the Ancient Future’: Cloud Atlas and the Politics of Big History.” SubStance, vol. 44, no. 1, 2015, pp. 92-106,doi: 10.1353/sub.2015.0011. Accessed 20 Nov. 2019.Warren, Jason. Creating Worlds: How to Make Immersive Theatre. Nick Hern Books, 2017.Waugh, Patricia. Metafiction. Routledge, 2013. zh_TW dc.identifier.doi (DOI) 10.6814/NCCU202001232 en_US
