重探弗拉基米爾˙納博科夫生命敘事中的記憶與光學科技

Abstract

本研究旨在重探弗拉基米爾˙納博科夫(Vladimir Nabokov)生命敘事中的光學科技圖像及隱喻與其筆下所描繪之記憶世界。本研究將筆者運用的鑽石型態寫作法(diamond-pattern method)視為一種介導生命的「新媒體科技」，並將(新)媒體理論的觀點及相關概念融入本研究對文本的解讀及分析。這些觀點及概念包含了初始技術性(originary technicity)、中介過程(mediation)、流變(becoming)、技術時間(technical time)、刺點(punctum)、盲區(the blind field)等。第一章顯示光學科技圖像及隱喻確實是理解時間、記憶及生命記敘之間複雜關係的關鍵。他們被排序、構成及呈現的方式，都表明了納博科夫的自傳有自己的一套記憶邏輯及藝術。第二章證實了納博科夫所呈現的記憶實踐確實可被理解成一種包含了無數個光學科技流變的光學科技流變(becoming-optical-technology)，且這些光學科技流變跟文本中多次提及的永恆感、合一感及喜樂感有所關聯。第三章結合了羅蘭˙巴特(Roland Barthes)對攝影的看法，把納博科夫於自傳修訂版中加入的十八張照片及照片說明視為一種包含了數個照片流變的攝影流變(becoming-photography)。這些照片流變跟照片說明中呈現的距離感、破碎感、滿足感及思緒空間有關。本研究最後發現，當這些(新)媒體觀點及相關概念可用來對光學科技、攝影、記憶記敘和生命書寫之間的關係做細微探討時，納博科夫文本本身的特殊性亦在微調我們對這些(新)媒體觀點及相關概念的認知，為他們注入新的活力。The thesis focuses on the relations between the optical-technology-based metaphors, images and the mnemonic world in Vladimir Nabokov’s autobiography. The thesis reads the autobiographer’s diamond-pattern method as a “new” media technology for mediating life and incorporates concepts from (new) media theory and their associative concepts into a fine textual analysis. These concepts include originary technicity, mediation, becoming, technical time and punctum, the blind field, etc.. Chapter I shows that optical-technology-based metaphors andimages are indeed a key to the understanding of the complex relations among time, memory and autobiographical writing. The way they are sequenced, structured and presented suggests an artificial technique of memory that has its own logic of operation. Chapter II substantiates that Nabokov’s mnemonic practice can be read as a becoming-optical-technology that involves multiple becomings-optical-technology. These becomings-optical-technology were found to be connected with the sense of timelessness, oneness and blissfulness the autobiographical narrator alleged to have achieved in his mnemonic practices. Chapter III brings in Roland Barthes’s view on photography and argues that the inclusion of the eighteen photographs and their captions in the revised autobiography can be read as a becoming-photography that is constituted of multiple becomings-photography. These becomings-photography are found to be linked with the senses of distance, fragmented-ness, fulfillment and space for thoughts as presented in the captions. The thesis notices that while these (new) media concepts help investigate into the subtle relations among optical technologies, photography, mnemonic practice and life writing, the peculiarity of Nabokov’s text is also refining these concepts by adding vitality to them.