論《巨獸》 與 《雙重遊戲》中的 後現代城市漫遊者與女漫遊者

Abstract

本論文以後現代理論家及女性主義的觀點來探討起源於十九世紀巴黎的城市漫遊者概念，研究都市漫遊者如何以不同面貌再現於後現代城市。透過閱讀保羅‧奧斯特的《巨獸》以及蘇菲‧卡爾的《雙重遊戲》，本文提出兩種城市漫遊者的後現代變形，並論證女性漫遊者的可能性。 全文共分成四章，第一章以波特萊爾、班雅明為起點爬梳城市漫遊者的歷史脈絡，並且探討之後學者對於女性漫遊者存在與否的爭辯。第二章以莫拉夫斯基(Stefan Morawski)所提出的「知性漫遊者」(intellectual flaneur)和波特萊爾、班雅明的都市論述作為理論基礎，分析《巨獸》中主角薩克斯與後現代文化的抗衡。不同於十九世紀悠遊自得於城市生活中的漫遊者，薩克斯受挫於後現代的斷裂性與複製文化現象，失去其文化領導者的地位，並轉而成為炸彈客，最後淪為時代巨輪下的犧牲品。第三章以包曼(Zygmunt Bauman)的「後現代漫遊玩家」(postmodern playful flaneur) 作為理論架構，論證女性漫遊者富於易變動性、顛覆性及想像力，比傳統男性漫遊者更能適應後現代世界；此外，她並以漫遊攝影家的身分提供城市觀察的另一視角，是為一種後現代城市漫遊者的成功變形。最後一章則總結前三章之重點。本論文希望藉由閱讀兩種不同的漫遊文本，將城市漫遊者的討論範疇從現代延伸至後現代，進一步了解漫遊在碰撞不同時代及不同性別主體時之風貌及實踐。

In this thesis I explore two types of postmodern flanerie: the flaneur in Paul Auster’s Leviathan and the flaneuse in Sophie Calle’s Double Game. Using these two texts, I aim to examine the transformation of the nineteenth-century archetypal flaneur in the postmodern period and probe the gender issue of flanerie. On the one hand, I argue that the flaneur, instead of dying out in the late nineteenth century, enters the postmodern era and transforms himself into a figure different from his nineteenth-century predecessor. On the other hand, I contend that the flaneuse, once viewed as an impossibility, not only exists but is even more adaptable than the flaneur to postmodernity. There are four chapters in my thesis. Chapter One is a historical mapping of flanrie in urban modernity, as well as an introduction to the debates on the flaneuse. In Chapter Two, I draw on Stefan Morawski’s theorization and read the protagonist Sachs in Leviathan as an “intellectual flaneur” in the postmodern era. The intellectual flaneur is an anguished postmodern flaneur because he fights against the postmodern culture of nothingness and replicas to no avail. Frustrated by his unrealistic attempt to decipher everything, the intellectual flaneur gradually becomes outmoded. In Chapter Three, I explore the possibility of the flaneuse and look into her new mode of aesthetic representation as well as her unique way of inhabiting the postmodern world. Using the idea of the “postmodern playful flanuer” proposed by Zygmunt Bauman, I view Calle, the author as well as the heroine in Double Game, as a flexible and playful flaneuse who is more adaptable than the intellectual flaneur to postmodernity. The last chapter serves as a conclusion of this thesis. All in all, I contend that the cultural history of flanerie is much more complicated than what the founding scholars Baudelaire and Benjamin have delineated, and this thesis examines some of these complicacies in the postmodern time.