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|標題:||Writing Liminality: The Supplementation of Time and Space in Michael Ondaatje''s The English Patient
|作者:||何嘉怡||關鍵字:||異/己交織;liminality;時間與空間;國家與歷史;補遺與延異;time and space;nation and history;supplementation;hybridity||出版社:||外國語文學系||摘要:||
In The English Patient, Michael Ondaatje manages to reinscribe the official histories of World War II through the marginal experiences of the novel's four characters, Hana, Caravaggio, Kip and the English patient. Readers have confronted a tapestry-like representation in which patches of individual memories are stitched among or even beyond national, academic documents. Ondaatje thus have made the novel at once factual and imaginary, historical and fictitious. Given as a story articulated from the margin of nations, leak of histories, The English Patient appears as a resisting site of indeterminacy writing back empires, disturbing the certainty and stability of mainstream narratives.
Basically speaking, I read the novel through a postcolonial and poststructuralist angle. Ondaatje's characterization of marginal, dislocated people, set in reflection with the wounded landscape, brings out a mongrel narrative that is intertextual, supplementary. Being highly acclaimed as a metahistorical novel, The English Patient juxtaposes historical facts and creative imagination, and renders their line of distinction blurred. As the narrator quotes incessantly from other documents and literary masterpieces for historical accuracy, he challenges literature as a discipline and fiction as a genre. Focusing on the split and hybridity in the representation of time and space, by extension, he reconstructs our perception of the world as a progressive, stable constellation, proclaiming instead we are communal races and histories. The markings and boundaries of nation and identity are being erased, as he rewrites the discourses of History and Nation. And at the same time the newly released discursive possibility suggests a space of resistance, a liminal zone for alternative histories and groupings that are not in service of the Nation.
在《英倫情人》一書中, 麥可․翁達吉藉由書中四位主角─Hana, Caravaggio, Kip和 English patient─邊陲化的經驗, 重新書寫二次世界大戰的官方歷史。 融合個人的回憶和官方的紀錄, 此書對讀者而言就有如一幅織錦畫般錯綜交織。 翁達吉因此使得本書同時充滿史實與想像間的對立與衝突。 而本書既以國家的邊緣, 歷史的間隙為出發點, 它的曖昧模糊性也正得以成為一抗拒、重新書寫帝國及主流論述的場域。
大體而言, 我對本書的閱讀是從一後殖民及後結構的角度。 翁達吉所塑造的角色, 邊緣化而流離失所, 正好映照、補遺書中飽受戰火摧殘的大地和結構散亂, 交互隱射的本文文體。 誠如所謂的後射歷史小說, 《英倫情人》交織史實與想像, 使得二者之界限模糊不可辨。 在敘述者引用其他文獻或作品以證其史實性時, 他也同時顛覆了文學及小說的傳統。 此外, 藉由強調時間與空間再現中的分裂與混雜, 作者揭示了知識權力劃分疆界與書寫歷史的種種荒謬與虛妄; 指出種族與歷史的共通性是難以區隔的。 因此, 在他重新書寫國家及歷史的論述時, 國家與主體的明確界限皆被抹消了。 取而代之的, 是一新的抗拒場域, 一異己交織的論述空間; 其開放性及可能性, 使得掩藏壓抑在國家、官方歷史之下的異質族群和歷史得以有抒發的空間。
|Appears in Collections:||外國語文學系所|
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