柴納·米耶維的魅惑: 情動、情緒與依戀研究

Abstract

本論文旨在提出，柴納·米耶維之巴斯-拉格三部曲透過對情感的魅惑重新詮釋了物質與非物質間的緊張關係，標誌出當代奇幻文學的新方向。儘管馬克思主義、精神分析與其他批判導向的研究方法長遠以來在推理小說與米耶維研究分析領域中居主導地位，但本研究提出以情感視角，透過融合文學與一般小說中不同的形式、風格和主題元素來發展出對自我與社會的新想像，從而增強其敘事的豐富性。如果失望/幻滅是晚期資本主義創造出的主流敘事小說基調，那麼以弗里德里克·詹姆森和馬克·費舍爾的話來說，替代方案是什麼？柴納·米耶維的巴斯-拉格三部曲正是對應這個問題的探索。它穿越了情感色調的潛力，並深入研究了夢幻般的美學與情感的交叉點，從色調、世界建構、人物角色、到主題和畸形的另類闡述。本研究透過吉爾·德勒茲和菲力克斯·伽塔里的動態形成哲學思想、珍·班奈特的情感概念以及文學後批判性方法，分析了米耶維如何將夢幻與情感的混和發展為“失落/陶醉的小說"，透過想像力重新獲得“奇蹟與疏離感“。 特别是，本研究仔细研究了米耶維在巴斯-拉格三部曲中對“審美情感“的使用，將其作為一種概念基礎與形式策略，讓讀者重新評價新自由主義體系中人類與非物質與物質間的關係及奇幻在當代生活中的功能。

米耶維認為，後資本主義社會的假定現實本質上是幻想的，從而指出現實的潛力也可以在幻想中尋得。藉由三部曲引發現實與幻想的混合，通過形式、風格、和主題的交雜，破壞了傳統的流派等級制度。這個過程同時使讀者沉浸與疏離，進而引發形式與內容間的緊張關係，並將讀者從非認知狀態推進到認知狀態。藉此，它完成了一個情感陶冶的循環，並踏出了理解相異經驗的第一步。This dissertation argues that China Miéville's Bas-Lag trilogy signals a new direction in contemporary fantasy discourse by reinterpreting the tension between the material and immaterial through the enchantment of affects. Despite the long-standing dominance of Marxist, psychoanalytic, and other critique-oriented approaches within the realm of speculative fiction and Mievillean analysis, this study advocates for an affective perspective, which enhances the richness of his narratives by amalgamating diverse formal, stylistic, and thematicelements from literary and generic fiction to develop a new imagination of self and society.If disenchantment is the dominant novelistic tone of narrative produced in late capitalism, then in the words of Fredric Jameson and Mark Fisher, what is the alternative? Miéville's Bas-Lag trilogy represents an exploration of this very question. It traverses the potential of alternate affective tones and delves into the intersections of fantastic aesthetics and affects, from tone, worldbuilding, character, to theme and the articulation of the monstrous other. By engaging with Deleuze and Guattari's notion of becoming, Jane Bennett’s concept of enchantment, and postcritical affective approaches to literature, I analyze how Miéville develops the amalgamations of the fantastic and affects into “novels of dis/enchantment” to reclaim “wonder and estrangement” through the imagination. In particular, this research scrutinizes Miéville's use of “aesthetic affect” in the Bas-Lag trilogy as the conceptual underpinning and a formal strategy that allows the reader to re-evaluate both humanity's relationship to the immaterial and material within the neoliberal capitalist system and the function of fantastic in contemporary life. Miéville contends that late capitalist society's presumed reality is inherently fantastical, thus suggesting that the real's potentiality can also be found within the fantastic. This conflation of realityand fantasy, instigated by the trilogy, disrupts traditional genre hierarchy through the hybridization of form, style, and theme. This process concurrently immerses and alienates the reader, thereby invoking a tension between form and content, and propelling the reader from the noncognitive to the cognitive. It thus completes a cycle of affective enchantment, and taking the first step towards understanding experience of otherness.