簡易檢索 / 詳目顯示

研究生: 李玫青
Li, Mei-Ching
論文名稱: 重探弗拉基米爾˙納博科夫生命敘事中的記憶與光學科技
Revisiting Memory and Optical Technologies Vladimir Nabokov’s Life Narratives
指導教授: 路愷宜
Loana Luca
學位類別: 碩士
Master
系所名稱: 英語學系
Department of English
論文出版年: 2018
畢業學年度: 106
語文別: 英文
論文頁數: 89
中文關鍵詞: 弗拉基米爾 ̇納博科夫(Vladimir Nabokov)《說吧,記憶》(Speak, Memory)流變(becoming)中介過程(mediation)光學科技流變(becoming-optical-technology)自傳記憶時間攝影流變(becoming-photography)
英文關鍵詞: Vladimir Nabokov, optical technology, photographs, Speak, Memory, Conclusive Evidence
DOI URL: http://doi.org/10.6345/THE.NTNU.DE.034.2018.A07
論文種類: 學術論文
相關次數: 點閱:123下載:25
分享至:
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報
  • 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 and images 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.

    摘要 i Abstract ii Acknowledgements iii Table of Contents iv List of Figures v Introduction 1 Nabokov’s Life Narratives and “New” Media Studies 1 Nabokov’s Life Narratives and Remediation 2 Nabokov’s Life Narratives and the Operation of a New Media Artwork 5 Chapter Outline 7 Chapter I 9 Autobiography, Optical Technologies and the Art of Memory 9 Nabokov’s Novels: Traces of the Auto/biographical 10 Nabokov’s Autobiography: Its Stylistic Designs and Implications 17 Nabokov’s Autobiography: Optical Technologies and Their Roles 22 The Art of Memory 27 Chapter II 31 Becoming-with-the-World-of-Optical-Technology 31 Optical Technology and the Spatial Sense of Oneness 42 Optical Technology and the Rhythmic Sense of Oneness 44 Becoming-Different-From-the World-of-Optical-Technology 47 Chapter III 53 Becoming-Not-with-the-World-of-Photographs? 53 Photography and the Sense of Distance 57 Photography and the Sense of Fragmented-ness 65 Photography and the Sense of Fulfillment 66 Photography and the Space for Thoughts 69 Photography and the Autobiographer’s Mediated Cut 75 Conclusion 81 Nabokov’s Autobiography and Future Studies 81 Works Cited 83

    Adams, Timothy Dow. “I Am a Camera.” Light Writing and Life Writing: Photography in Autobiography. Chapel Hill: University of North Carolina Press, 2000. 1-21. Print.
    Appel, Alfred, and Vladimir Nabokov. “An Interview with Vladimir Nabokov.” Wisconsin Studies in Contemporary Literature 8.2 (1967): 127-52. Print.
    Banfield, Ann. “Remembrance and Tense Past.” The Cambridge Companion to the Modernist Novel. Ed. Shiach, Morag. New York: Cambridge UP, 2007. 48-64. Print. Cambridge Companions Online.
    Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. 1980. New York: Hill and Wang, 1981. Print.
    ---. “The Death of the Author.” Trans. Stephen Heath. Image-Music-Text. Ed. Stephen Heath. 1967. New York: Hill and Wang, 1977. 142-8. Print.
    Bazin, André. “The Ontology of the Photographic Image.” Film Quarterly 13.4 (1960): 4-9. Print.
    Benjamin, Walter. “Little History of Photography.” Trans. al, Rodney Livingstone et. Selected Writings: Volume 2, 1927-1934. Eds. Jennings, Michael W., Howard Eiland and Gary Smith. 1931. Cambridge, MA: Belknap-Harvard UP, 1999. 507-30. Print.
    ---. One-way Street, and Other Writing. Trans. Edmund Jephcott and Kingsley Shorter. 1928. London: New Left, 1979. Print.
    ---.”The Work of Art in the Age of Its Technological Reproducibility (Third Version).” Selected Writings: Volume 4, 1938-1940. Ed. Howard Eiland and Michael W. Jennings. Trans. Edmund Jephcott et al. 1936. Cambridge, MA: Belknap-Harvard UP, 2003. 251-83.
    Bergson, Henri. Creative Evolution. Trans. Mitchell, Arthur. 1907. New York: Random House, 1944. Print.
    Blanchot, Maurice. The Book to Come. Trans. Charlotte Mandell. Ed. Werner Hamacher. 1959. Stanford: Stanford UP, 2003. Print. Meridian: Crossing Aesthetics.
    Bolter, Jay David, and Richard Grusin. Remediation: Understanding New Media. Cambridge, MA: MIT P, 1999.
    Boym, Svetlana. “Vladimir Nabokov’s False Passport.” The Future of Nostalgia. New York: Basic Books, 2001. 259-83. Print.
    Boyd, Brian. Introduction. Speak, Memory: An Autobiography Revisited. By Vladimir Nabokov. Everyman’s Library ed. New York: Alfred A. Knopf, 1999. ix-xxv. Print.
    Bruss, Elizabeth W.. “Vladimir Nabokov: Illusions of Reality and Reality of Illusions.” Autobiographical Acts: The Changing Situation of a Literary Genre. London: The John Hopkins UP, 1976. 127-62. Print.
    Cadava, Eduardo. “Words of Light: Theses on the Photography of History.” Diacritics 22.3/4 (1992): 84-114. Print.
    “Camera-lucida.” Oxford Dictionaries.com. Oxford, n.d. Web. 31 Dec. 2016.
    “Camera obscura.” Oxford Dictionaries.com. Oxford, n.d. Web. 31 Dec. 2016.
    Chen, Xiang. Instrumental Traditions and Theories of Light: The Uses of Instruments in the Optical Revolution. B. V.: Springer Science+Business Media Dordrecht, 2000. Print. Science and Philosophy 9.
    Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, MA: MIT P, 1990. Print.
    De la Durantaye, Leland. “The True Purpose of Autobiography or the Fate of Vladimir Nabokov’s Speak, Memory.” The Cambridge Companion to Autobiography. Eds., Maria Dibattista and Emily O. Wittman. New York: Cambridge UP, 2014. 165-79. Print.
    Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. 1980. Minnesota: U of Minnesota P, 1987. Print.
    Diment, Galya. “Nabokov’s Biographical Impulse: Art of Writing Lives.” The Cambridge Companion to Nabokov. Ed. Julian W. Connolly. New York: Cambridge UP, 2005. 170-84. Print.
    ---.”Timofey Pnin, Vladimir Nabokov, and Marc Szeftel,” Nabokov Studies 3.1 (1996): 53-75. Print.
    ---. “Vladimir Nabokov and the Art of Autobiography.” Nabokov and His Fiction: New Perspectives. Ed. Julian W. Connolly. Cambridge UP, 1999. 36-53. Print.
    Draaisma, Douwe. Metaphors of Memory: a History of Ideas about the Mind. Trans. Paul Vincent. 1995. Cambridge: Cambridge UP, 2000. Print.
    Durand, Régis. “How to See (Photographically).” Fugitive Images: From Photography to Video. Ed. Patrice Petro. Bloomington: Indiana UP, 1995. 141-51. Print.
    Eakin, John Paul. Fictions in Autobiography: Studies in the Art of Self-Invention. Princeton, N.J.: Princeton UP, 1985. Print.
    Field, Andrew. Nabokov: His Life in Art. Boston: Little, Brown & Company, 1967. Print.
    Foster, John Burt. Nabokov’s Art of Memory and European Modernism. Princeton, NJ: Princeton UP, 1993. Print.
    Goble, Mark. Beautiful Circuits: Modernism and the Mediated Life. New York: Columbia UP, 2010. Print.
    Green, Geoffrey. “Visions of a ‘Perfect Past’: Nabokov, Autobiography, Biography, and Fiction.” Nabokov Studies 3.1 (1996): 89-100. Print.
    Hader, Suzanne. “The Bildungsroman Genre: Great Expectations, Aurora Leigh, and Waterland.” Victorian Web. Web. 21 Feb. 2005.
    Hanse, Mark B. N. “Living (with) Technical Time: From Media Surrogacy to Distributed Cognition.” Theory, Culture & Society 26.2/3 (2009): 294-315. Print.
    ---. New Philosophy for New Media. Cambridge, MA: MIT P, 2004. Print.
    Hansen, Miriam. “Benjamin, Cinema and Experience: The Blue Flower in the Land of Technology.” New German Critique 40 (1987): 179-224. Print.
    Heidegger, Martin. “The Question Concerning Technology.” The Question Concerning Technology and Other Essays. Trans. William Lovitt. 1954. New York: Harper & Row, 1977. 3-35. Print.
    Hirsch, Marianne. “Introduction: Family Frames.” Family Frames: Photography, Narrative, and Postmemory. Cambridge, Mass.: Harvard UP, 1997. 1-15. Print.
    Hyde, G. M.. “Nabokov’s Unreal Estate: Speak, Memory (1967), Ada (1969) and Transparent Things (1972).” Vladimir Nabokov: America’s Russian Novelist. London: Marion Boyars, 1977. 192-210. Print.
    “Internet Addiction: Stanford Study Seeks to Define Whether It’s a Problem.” Stanford Medicine. Stanford Medicine, n. d. Web. 10 Apr. 2018.
    Kazin, Alfred. “Autobiography as Narrative.” The Michigan Quarterly Review (1964): 210-6. Print.
    Kember, Sarah, and Joanna Zylinska. Life After New Media: Mediation as a Vital Process. Cambridge, MA: MIT P, 2012. Print.
    Kracauer, Siegfried. “Photography.” Theory of Film: The Redemption of Physical Reality. New York: Oxford UP, 1960. 3-23. Print.
    Kuzmanovich, Zoran. “Strong Opinions and Nerve Points: Nabokov’s Life and Art.” The Cambridge Companion to Nabokov. Ed. Connolly, Julian W. New York: Cambridge UP, 2005. 11-30. Print.
    Lyaskovets, Tetyana. “Time, Photography, and Optical Technology in Nabokov’s Speak, Memory.” CLCWeb: Comparative Literature and Culture 16.3 (2014): n. pag. Print.
    Manovich, Lev. The Language of New Media. Cambridge, MA: MIT P, 2001. Print.
    Merleau-Ponty, Maurice. Sense and Non-Sense. Trans. Hubert L. Dreyfus and Patricia Allen Dreyfus. 1948. Evanston: Northwestern UP, 1964. Print.
    ---. The Merleau-Ponty Aesthetics Reader: Philosophy and Painting. Trans. Michael B. Smith, and ed. Galen A. Johnson. Evanston: Northwestern UP, 1993. Print.
    Moraru, Christian. “Time, Representation, and Postmodern Memory.” Memorious Discourse: Reprise and Representation in Postmodernism. Fairleigh Dickinson UP, 2005. Print.
    ---. “Time, Writing, and Ecstasy in Speak, Memory: Dramatizing the Proustian Project.” Nabokov Studies 2.1 (1995): 173-190. Print.
    Nabokov, Vladimir Vladimirovich. “On Conclusive Evidence.” Speak, Memory: An Autobiography Revisited; with an Introduction by Brian Boyd. 1951. “On Conclusive Evidence.” New York: Alfred A. Knopf, 1999. Print. Rpt. of Conclusive Evidence: A Memoir. 1951.
    ---. Conclusive Evidence: A Memoir. New York: Harper & Brothers Publishers, 1951. Print.
    ---. The Gift: A Novel. Trans. Michael Scammell. 1st Vintage International ed. 1938. New York: Vintage Books, 1991. Print.
    ---. Lolita. 1955. London: Penguin Books, 1995. Print.
    ---. Pale Fire. 1957. Everyman’s Library ed. New York: Alfred A. Knopf, 1992. Print.
    ---. Speak, Memory: An Autobiography Revisited. Revised ed. 1951. Forward. New York: G. P. Putman’s Sons, 1966. Print. Rpt. of Conclusive Evidence: A Memoir. 1951.
    ---. Strong Opinions. 1st Vintage International ed. 1973. New York: Vintage, 1990. Print.
    ---. Vladimir Nabokov: Lectures on Literature. 1st ed. Ed. Fredson Bowers. New York and London: Harcourt Brace Jovanovich, 1980. Print.
    ---. Vladimir Nabokov: Selected Letters, 1940-1977. Eds. Dmitri Nabokov and Matthew Joseph Bruccoli. San Diego: Harcourt Brace Jovanovich, 1989. Print.
    Nivat, Georges. “Speak, Memory.” The Garland Companion to Vladimir Nabokov. Ed. Vladimir E. Alexandrov. New York: Routledge, 1995. 672-85. Print. Garland Reference Library of the Humanities 1474.
    Olney, James. “Autobiography and the Cultural Moment: A Thematic, Historical and Bibliographical Introduction.” Autobiography: Essays Theoretical and Critical. Ed. James Olney. Princeton, N. J.: Princeton UP, 1980. 3-27. Print.
    ---. Metaphors of Self: The Meaning of Autobiography. Princeton, N.J.: Princeton UP, 1972. Print.
    Petit, Laurence. “Speak, Photographs? Visual Transparency and Verbal Opacity in Nabokov’s Speak, Memory.” NOJ/НОЖ: Nabokov Online Journal 3. (2009): n. pag. Web. 12 May 2015.
    “Protensity.” Merriam-Webster.com. Merriam-Webster, n.d. Web. 21 Mar. 2018.
    Radstone, Susannah, and Katharine Hodgkin. “Regimes of Memory: An Introduction.” Regimes of Memory. Eds. Susannah Radstone and Katharine Hodgkin. London and New York: Routledge-Taylor & Francis Group, 2003. 1-22. Print. .
    Scarry, Elaine. “The Merging of Bodies and Artifacts in the Social Contract.” Culture on the Brink: Ideologies of Technology. Eds. Gretchen Bender and Timothy Druckrey. Seattle: Bay Press, 1994. 85-92. Print.
    Smith, Sidonie, and Julia Waston. Reading Autobiography: Guide for Interpreting Life Narratives. Minneapolis; London: U of Minnesota P, 2001. Print.
    Sobchack, Vivian Carol. Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley: U of California P, 2004. Print.
    Sontag, Susan. On Photography. 1st electronic ed. 1973. New York: RosettaBooks, 2005. Print.
    Spengemann, William C.. The Forms of Autobiography: Episodes in the History of a Literary Genre. New Haven: Yale UP, 1980. Print.
    Stuart, Dabney. “Floating and Singing the Novel as Biography.” Nabokov: The Dimensions of Parody. Baton Rouge: Louisiana State UP, 1978. 133-143. Print.
    ---. “The Novelist’s Composure: Speak, Memory as Fiction.” Modern Language Quarterly 36.2 (1975): 177-92. Print.
    “Vignette.” Oxford Dictionaries.com. Oxford, n. d. Web. 31 Dec. 2016.
    Watt, Ian. The Rise of the Novel. Berkeley: U of California P, 1965. Print.
    Wood, Michael. The Magician’s Doubts: Nabokov and the Risks of Fiction. Princeton UP, 1995. Print.
    Wyllie, Barbara. “Nabokov and Cinema.” The Cambridge Companion to Nabokov. Ed. Connolly, Julian W. New York: Cambridge UP, 2005. 215-31. Print.
    ---. “Nabokov and Film: Positive Versus Negative.” Nabokov at the Movies: Film Perspectives in Fiction. McFarland Publishing, 2003. 3-10. Print.
    Yates, Frances A.. The Art of Memory. 1966. New York: Routledge-Taylor & Francis Group, 2007. Print. Selected Works of Frances Yates 3.

    下載圖示
    QR CODE