| dc.contributor.advisor | 邱漢平 | zh_TW |
| dc.contributor.advisor | Chiu , Hanping | en_US |
| dc.contributor.author (Authors) | 張懿仁 | zh_TW |
| dc.contributor.author (Authors) | Yi-Jen Chang | en_US |
| dc.creator (作者) | 張懿仁 | zh_TW |
| dc.creator (作者) | Yi-Jen Chang | en_US |
| dc.date (日期) | 2003 | en_US |
| dc.date.accessioned | 17-Sep-2009 16:15:12 (UTC+8) | - |
| dc.date.available | 17-Sep-2009 16:15:12 (UTC+8) | - |
| dc.date.issued (上傳時間) | 17-Sep-2009 16:15:12 (UTC+8) | - |
| dc.identifier (Other Identifiers) | G0089551008 | en_US |
| dc.identifier.uri (URI) | https://nccur.lib.nccu.edu.tw/handle/140.119/33322 | - |
| dc.description (描述) | 碩士 | zh_TW |
| dc.description (描述) | 國立政治大學 | zh_TW |
| dc.description (描述) | 英國語文學研究所 | zh_TW |
| dc.description (描述) | 89551008 | zh_TW |
| dc.description (描述) | 92 | zh_TW |
| dc.description.abstract (摘要) | 本篇論文意在分析探討葛拉斯的小說《錫鼓》中主角侏儒奧斯卡照片影像式的敘事觀點，以其顛覆且批判德國二次大戰納粹時期的歷史。透過侏儒奧斯卡以回憶述說故事的方式，從被主流歷史掩埋的廢墟殘跡中，提出斷簡殘篇但相互關聯如星宿圖般的照片影像，以存留於照片影像中破碎的個人歷史抵抗正統歷史泯滅真相的力量。由奧斯卡小人物般卑下的目光如攝影鏡頭或伸縮、或放大、或停格的控訴納粹法西斯的惡行，及支持此一罪行的共犯結構— 德國中產階級的狂熱盲從，指摘納粹歷史如場荒誕鬧劇，德國小市民的亂倫敗德與搖旗吶喊的愚昧瘋狂。本論文欲透過班雅明(Walter Benjamin)、蘇珊•宋塔(Susan Sontag)、巴特(Roland Barthes)及德勒茲(Gilles Deleuze)與瓜達里(Félix Guattari)等人之理論架構逐章論述，分析奧斯卡之敘事觀點。首先以其畸形矮小身形猶如攝影式觀看，維持自身與外在世界的批判距離，且將事件做極度怪奇的放大或縮小，試圖還原歷史洪流中被淹沒或為人輕忽的細節。接著透過奧斯卡親人的死亡和他們留存在家庭相簿中的身影，以之視為凝結停頓時空的休止(caesura)和刺點(punctum)，交互出生者與死者，過去與現在，個人與歷史之間的辯證對話。最後探討照片式影像如部份物體(partial object)具有流動、多元、破碎的顛覆特質，檢視奧斯卡的觀點如何逃脫歷史、民族、國家所匯聚的統一整體，解除支配社會場域的「父–母–我」的伊底帕斯關係之力量，揭露納粹如父如神之形象背後的壓抑與荒謬，使其造成的歷史浩劫定格顯影。 | zh_TW |
| dc.description.abstract (摘要) | This thesis investigates Gűnter Grass’s The Tin Drum from the perspective of photographic images, using theories drawn from Walter Benjamin, Susan Sontag, Roland Barthes, Gilles Deleuze and Felix Guattari. Acclaimed as the greatest German novel written since the end of World War II, The Tin Drum is supposedly an autobiographical fiction of Oskar Matzerath, a character who, willingly stunting his growth at the age of three, has lived through the long Nazi nightmare and the loss of Danzig City. Wielding his tin drum and piercing scream as weapons, Oskar furnishes the reader with a profound yet hilarious recollection in the form of fragmented yet correlative photographic images on both German history and the human predicament in the modern world. Chapter One explores the effect of alienation resulting from Oskar’s grotesque perspective from Sontag’s idea of photographic seeing and Benjamin’s “distraction” element of the technical media. Oskar observes the adult world, from which he chooses to withdraw, from an unusual angle gained by his dwarfish size. His perspective, likened to the enlargement or close-up of a camera, displays the grotesquery in ordinary events to reveal what is hidden from us. Chapter Two prospects the force of interruption or arrest grounded on Oskar’s bereavement, with Benjamin’s caesura and Barthes’ punctum of photographic images. Death in the photographic images is endowed with the capacity to arrest and petrify the historical movement. The break from the present moment enables the rereading and refiguring of history. The Deleuzo-Guattarian conception of partial objects is employed in Chapter Three to explore how Oskar viewing the external world as objectivized images helps engender revolutionary forces to subvert the orthodox history. The photographic images in the appearance of partial objects break through the totalizing power of orthodox history and bring forth a dialectical optic to examine the past, present and future. | en_US |
| dc.description.tableofcontents | Acknowledgments…………………………………………………………………...iiiChinese Abstract…………………………………………………………………......viEnglish Abstract…………………………………………………………………….viiIntroduction ………………………………………………………………………… .1Chapter I Lilliputian in Brobdingnag …………………………………………………………………………18 1.0. General ……………………………………………………………18 1.1. Monstrous Perception…………………………………………….22Chapter II Caesura and Punctum in the Photographic Image …………………………………………………………………………41 2.0. General………………………………………………………… …41 2.1. Death and Photography…………………………………………..43 2.2. Caesura and Punctum……………………………………………..44 2.3. Collective Guilt……………………………………………………56Chapter III Objects in Phantasmagoria …………………………………………………………………………64 3.0. General…………………………………………………………….64 3.1. Words Fail…………………………………………………………70Conclusion …………………………………………………………………………84Works Cited ………………………………………………………………………...88 | zh_TW |
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| dc.language.iso | en_US | - |
| dc.source.uri (資料來源) | http://thesis.lib.nccu.edu.tw/record/#G0089551008 | en_US |
| dc.subject (關鍵詞) | 照片影像 | zh_TW |
| dc.subject (關鍵詞) | 攝影式觀看 | zh_TW |
| dc.subject (關鍵詞) | 休止 | zh_TW |
| dc.subject (關鍵詞) | 刺點 | zh_TW |
| dc.subject (關鍵詞) | 部分物體 | zh_TW |
| dc.subject (關鍵詞) | photographic images | en_US |
| dc.subject (關鍵詞) | photographic seeing | en_US |
| dc.subject (關鍵詞) | caesura | en_US |
| dc.subject (關鍵詞) | punctum | en_US |
| dc.subject (關鍵詞) | partial objects | en_US |
| dc.title (題名) | 葛拉斯《錫鼓》中的照片意象 | zh_TW |
| dc.title (題名) | Photographic Images in Gűnter Grass’ The Tin Drum | en_US |
| dc.type (資料類型) | thesis | en |
| dc.relation.reference (參考文獻) | Works Cited | zh_TW |
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