肮脏的窗口和麻烦的东西:Alain Robbe-Grillet的《La Jalousie》中的面向对象问题

IF 0.2 0 LITERATURE
A. Zuliani
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引用次数: 0

摘要

本文考察了法国小说家阿兰·罗伯-格里耶创作的新罗马传统小说《La Jalousie》(1957)中物体的表现形式。如果“新小说”试图以客观清晰的方式呈现物质世界,并将自己定位于传统小说的对立面,因为它依赖于隐喻、寓言和其他“投影”,那么本文认为,这种审美程序被它自己关于描述的力量和视觉的首要地位的假设所削弱。在一篇混合了三种不同批判流派——面向对象的本体论、海德格尔现象学和布莱恩·马苏姆提出的“共鸣”模型——的分析中,我将论证这样一种对对象的处理,它完全依赖于视觉描述、测量和枚举,最终会剥夺对象的生命力和动态性,而这种生命力和动态性最初会证明这种虚构的项目是合理的。然而,这种活力的痕迹确实在罗伯-格里耶的叙述中幸存了下来,并且确实从小说的裂缝和裂缝中提供了另一种“面向对象”的可能性,否则小说的风格被平滑地控制着——我认为,这种可能性暂停了其冷静的光学超然,允许一种混乱的,纠缠的触摸记录的爆发,无论如何短暂。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Dirty Windows and Troublesome Things: The Problem of Object-Orientation in Alain Robbe-Grillet’s La Jalousie
This article investigates the representation of objects in La Jalousie (1957), a novel in the nouveau roman tradition written by French novelist Alain Robbe-Grillet. If the ‘new novel’ sought to render the material world with objective clarity, and positioned itself against traditional fiction, with its reliance on metaphor, allegory, and other ‘projections,’ this article argues that such an aesthetic program is undercut by its own assumptions about the power of description and the primacy of the visual. In an analysis which hybridizes three separate strands of criticism—object-oriented ontology, Heideggerian phenomenology, and the models of ‘resonation’ proposed by Brian Massumi—I will argue that such a treatment of objects, with its exclusive reliance on visual description, measurement, and enumeration, ends up depriving objects of the vitality and dynamism that would justify such a fictional project in the first place. However, traces of this dynamism do survive the flattening sweep of Robbe-Grillet’s narration, and indeed offer from the cracks and fissures of the novel’s otherwise smoothly controlled style the possibility of an alternate ‘object-orientation’—one, I will argue, which suspends its cool optical detachment to allow, however briefly, the eruption of a messy, entangling register of touch.
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来源期刊
Childrens Literature
Childrens Literature LITERATURE-
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