西博尔德的《迷魂记》中的旅行和“重写”

Phuong-Khanh T. Nguyen
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引用次数: 0

摘要

西博尔德(W.G. Sebald, 1944-2001)被认为是二战后德国文学的重要作家之一,也是当代世界文学中具有特殊影响的作家。西博尔德的第一部散文作品《眩晕》(Schwindel。gef hle),在萌芽状态中包含了所有可能在Sebaldian语料库中遇到的母题,特别是旅行母题,与记忆主题密切相关。本文以互文性理论为基础,通过多次令人眩晕的时空之旅来阐释不同文本之间的关系,并指出历史与再现、文本/图像与现实、生活与写作之间的界限。在这一研究中,作者采用定性的方法和描述性的方法来揭示高度复杂叙事中文本类型叠加的话语策略。文章分析了小说中四部分的情节结构和重叠的文本层,发现《眩晕》是以旅行风格写成的。这个故事就像一次朝圣;然而,叙述者不是一个游客,而是像一个漂流旅行的“fl”(根据居伊·德波的d逍遥理论)。在某种程度上,西博尔德总是倾向于描绘被悲伤和失去所困扰的场景。在西博尔德的作品中,物理空间总是镶嵌着历史、文化、形而上学和心理沉淀,使其不仅仅是一个参观的地方。sebald - fl的旅程经常故意向外围漂移,徘徊在边缘,他们是一个不打算放松的旅行者,他们的运动是从外部景观中产生的情感中汲取的。此外,从对西博尔德叙事技巧的分析结果来看,作者论证了《眩晕》也是一种超文本,文本中的每一个符号也是连接无数其他文本的网络的集合。它是一个迷宫,表达了对现有文本的“重写”概念。Sebald似乎想要创造一种“schwindel”(眩晕)的感觉来鼓励观看,这读起来好像是在反对单一话语的暴政。小说成为打破体裁界限的实验空间。这部作品是对“阅读”的一个警告,因为小说可以是非小说,反之亦然。因此,这部小说可以作为短篇小说集来读,“写”不过是对已有文本的“重写”。
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The journeys and the "rewriting" in Vertigo by W. G. Sebald
W.G. Sebald (1944–2001) is considered one of the important authors in German literature after World War II and also is a writer with a special influence in contemporary world literature. Sebald’s first prose work, Vertigo (Schwindel. Gefühle), carries in embryonic form all the motifs that can be encountered in the Sebaldian corpus, specifically the motif of travel, in close connection with the theme of memory. Based on the intertextuality approach, the article aims to interpret the relationship between different kinds of texts on the plot of many vertiginous journeys through space, time, and point out the borders between history and representation, text/image and reality, life, and writing. In doing this research, the author uses the qualitative method with a descriptive approach to disclose the discursive strategies of a superposition of text types in a highly complex narrative. The article has analyzed the plot’s structure of four parts and the overlapping text layers in the novel and found that Vertigo is written in travel style. The story is like a pilgrimage; however, the narrator is not a tourist, but like a “flâneur” on drift journeys (according to Guy Debord’s dérive theory). And Sebald, in a way, always tended to portray scenes haunted by grief and loss. The physical spaces in Sebald’s work are always inlaid with historical, cultural, metaphysical, and psychological sediments, making it not simply a place to visit. The Sebald-flâneur’s journey often deliberately drifts to the periphery, wandering in the edge, they are a traveller who does not intend to relax, whose movement is drawn from emotions arising from the outside landscape. Moreover, from the result of analysing Sebald’s narrative techniques, the author has demonstrated that Vertigo is also a hypertext, that every symbol in a text is also a collection of networks of links to innumerable other texts. It is a labyrinth expressing the concept of the “rewriting” of existing texts. Sebald seems to want to create a feeling of “schwindel” (vertigo) to encourage a viewing, which reads as if it were against the tyranny of a mono-discourse. The novel becomes a space for experiments to break down genre boundaries. The work is a warning for the “reading” since fiction could be nonfiction and vice versa. Therefore, this novel can be read as a collection of short stories with the idea: the “writing” merely “rewriting” over existing texts.
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期刊介绍: Tomsk State University Journal of Philology was established with the aim of: - publishing the papers and reviews on the topical issues of modern philology: linguistics, literary studies, communication studies; - promoting the development of theoretical and practical research in the field of socio-humanitarian knowledge; - forging links among scholars from different regions of Russia and other countries. Tomsk State University Journal of Philology is an independent research journal that welcomes submissions from across the world.
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