| 摘要: | 本文將探討喬依思之《尤里西斯》與立體派理論的關連，並打破傳統的詮釋角度，進而發現喬依思作品當中的立體派概念。喬依思在《尤里西斯》中重疊並置與片斷之重整，使得整部作品呈現其獨特對空間感。當閱讀《尤里西斯》時，彷佛觀看一幅立體派畫作般地，讀者被迫亦不自覺地進入一連串並置卻衝突的片斷裡，就如同身處立體派畫風內的重疊並置與共時性當中。因此本文將著墨於《尤里西斯》中之空間性。藉由幾張立體派的畫作，本文並將說明喬依思之於立體派的長袖善舞。 如同現代主義作品中支離破碎的世界及物我關係，喬依思在《尤里西斯》中亦運用片斷破碎的意象來探索刻畫故事中的角色。《尤里西斯》中的茉莉、布倫及史蒂芬，分明是小說中的三個主要的角色，卻又好似置身事外，孤絕於塵囂；實際上，生活當中卻是充斥著孤獨與受挫。喬依的筆觸，就如同立體派所欲呈現的，同時將不同角度的風貌均揮灑在一張畫布上一樣。 畢卡索、布拉克等立體派藝術家運用共時性之技巧，突破傳統之透視法，將圖畫之前景與背景同時呈現於畫布上。因此立體派畫作的觀看者，需用心觀賞並結合各可能之關連，方可體會全貌。同樣地，讀者若欲盡觀《尤里西斯》的全貌，必從各個不同的角度切入，甚而需融入個人之經驗與觀點。喬依思之《尤里西斯》在本文當中，將充分展現出立體派作品的特質，探索讀者詮釋文本、以視覺觀看文本的可能性。
The paper intends to reveal a striking relationship between James Joyce's Ulysses and Cubism. In the paper, the reader is able to get rid of the conventional perspectives and comprehend the very spirit of the Cubist, Joyce. Ulysses can be "spatial" because it represents a sense of mythic simultaneity and disjunctive syntactic arrangements. James Joyce fragments and isolates elements of common experience in imagistic patterns. When reading James Joyce's Ulysses, the reader is thus forced to see the fragmented images in a Cubist painting from a number of simultaneous but conflicting perspectives. Therefore, this paper will focus on the significant role played by spatiality in Ulysses. Besides, it will further present evidence of the relationship through a detailed comparative analysis of the Joycean imagery with the methods of Cubist paintings. In Modernist literary works the world of appearances is usually broken up into fragments. James Joyce, as a Modernist writer, also discovers an objective significance in cracks, in fissures, in broken objects, and cracked looking glasses. These broken images embody the isolation and frustration of Joyce's protagonists. In Ulysses, Joyce's three major protagonists, Molly, Bloom, and Stephen, seem to live in a deliberately cultivated isolation from their human environment. In addition, they also experience frustrations from their fragmented forms of life. Like James Joyce, modern artists also attempt to present all the stages of temporal sequences at once. The artists of the various Cubist movements such as Picasso and Braque, certainly, look at things from several points of view simultaneously. Simultaneity and the rejection of perspective, two striking principles of Cubism, can satisfy modern artists' hunger for freedom to constitute a pictorial reality. Because of this, the Cubists collapse the space between the planes simultaneously. Both the background and the foreground figures are put together in the same ground at the same time in the Cubist paintings. The viewer, therefore, has to recognize the portrait according to his own vision and analysis. In this way, James Joyce also applies some techniques of Cubist works in his Ulysses. The reader's/viewer's experience of the text'/picture surface thus is expanded from the original plane to another form of representation. |
