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標題: 科技、媒體與傷口:巴拉德《超速性追緝》中的烏托邦想像
Technology, Media and Wounds: Utopia Imagination in James Graham Ballard''s Crash
作者: 陳怡雯
Chen, Yi-Wen
關鍵字: Technology;科技;Wound Culture;Utopian Imagination;Photograph;Media;傷口文化;宗教;烏托邦想像;相片;媒體
出版社: 外國語文學系所
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Bocarnea. “Social Influence of an International Celebrity: Responses to the Death of Princess Diana.” Journal of Communication 53 .4(2003): 587-605. Burgin, Victor, ed. Thinking Photography. London: Macmillan, 1982. Butterfield, Bradley. “Ethical Value and Negative Aesthetics: Reconsidering the Baudrillard-Ballard Connection.” PMLA 114. 1 (1999): 64-77. JSTOR. 22 Aug 2007 <>. Chare, Nicholas. “Pain in Camera.” Rev. of Regarding the Pain of Others, by Susan Sontag. Parallax 11.1 (2005): 88-89. Routledge. 7 Jul 2007 <>. Chaudhuri, Shohini. “Witnessing Death: Ballard's and Cronenberg's Crash.” Strategies: Journal of Theory, Culture & Politics 14.1 (2001): 63-75. Taylor & Francis Group. 10 Dec 2006 <>. Cooper, John Xiros. Rev. of Literature, Technology, and Modernity, 1860-2000, by Nicholas Daly. Modernism 13.1 (2006): 948-950. Project Muse. 20 Aug 2007 <>. 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F. “Lordship and Bondage.” Hegel's Dialectic of Desire and Recognition: Texts and Commentary. Ed. John O'Nell. NY: State U of New York P, 1996. Hardin, Michael. “Postmodernism's Desire for Simulated Death: Andy Warhol's Car Crashes, J. G. Ballard's Crash, and Don DeLillo's White Noise.” Literature Interpretation Theory 13.1 (2002): 21-50. 12 Jan 2007 < >. Jameson, Fredric. “Postmodernism, or the Cultural Logic of Late Capitalism.” The Jameson Reader. Ed. Michael Hardt and Kathi Weeks. Oxford: Blackwell, 2000. 188-232. ---. “Reification and Utopia in Mass Culture.” The Jameson Reader. Ed. Michael Hardt and Kathi Weeks. Oxford: Blackwell, 2000. 123-48. ---. “The Politics of Utopia.” New Left Review 25 (2004): 35-54. 20 Jun 2007 <>. Johnson, Brian D. “AUTO EROTICISM: Cronenberg's Sex-driven Crash Shakes up the Film Festival.” Maclean's 109 (1996): 50-52. Kellner, Douglas. “The X-Files and the Aesthetics and Politics of Postmodern Pop.” The Journal of Aesthetics and Art Criticism 57.2 (1999): 161-175. JSTOR. 10 Jul 2007 <>. Liao Yi-ling. “Crash: Technological Desire for the Body in the Twentieth Century.” MA Thesis. NCU, 2001. Maholy-Nagy, Laszlo. Vision in Motion. Chicago: Paul Theobald & Company, 1947. McDonald, Gail. “The Mind a Department Store: Reconfiguring Space in the Gilded Age.” Modern Language Quarterly 63.2 (2002): 227-49. EBSCO. 30 Apr 2007 <>. Moran, Joe. “Don DeLillo and the Myth of the Author-Recluse.” Journal of American Studies. 34.1 (2000): 137-52. Cambridge Journals. 20 Jul 2007 <>. Ramachandran, Ayesha. “NewWorld, NoWorld: Seeking Utopia in Padmanabhan's Harvest.” Theatre Research International 30.2 (2005): 161-74. EBSCO. 30 Apr 2007 <>. Robins, Kevin. Into the Image: Culture and Politics in the Field of Vision. London: Routledge, 1996. Schnapp, Jeffrey T.. “Crash (Speed as Engine of Individuation).” Modernism/Modernity 6.1 (1999): 1-49. Johns Hopkins U Press. Project Muse. 22 Aug 2007 <>. Schwalbe, Carol B. “Remembering Our Shared Past: Visually Framing the Iraq War on U.S. News Websites.” Journal of Computer-Mediated Communication 12.1 (2006): 64-289. Blackwell Synergy. 12 Aug 2007 < >. Seltzer, Mark. “Wound Culture: Trauma in the Pathological Public Sphere.” Online posting. 1 Mar 1997. EBSCO. 1 Jan 2007 < >. Sey, James. “Special Feature: Critical Contexts of Pathology: Psychopathology, Inner Space and the Automotive Death Drive: J.G. Ballard.” South African Journal of Psychology 32.2 (2002): 55-60. EBSCO. 20 Aug 2007 <>. Sheller, Mimi, and John Urry. “The City and the Car.” International Journal of Urban and Regional Research 24 .4 (2000): 737-757. Blackwell Synergy. 1 Jun 2007 <>. Simon, John. “Crash.” National Review 49 (1997): 57. Slattery, Dennis Patrick. The Wounded Body: Remembering the Markings of Flesh. Albany: State U of New York Press, 2000. Sontag, Susan. Regarding the Pain of Others. New York: Picador, 2003. Springer, Claudia. “The Seduction of the Surface: From Alice to Crash.” Feminist Media Studies 1.2 (2001): 197-213. Routledge. 22 Aug 2007 <>. Tannahill, Reay. “Christian Church.” Sex in History. New York: Madison, 1982. 136-61. Urry, John. “Inhabiting the Car.” The Sociological Review 54.1 (2006): 17-31. Blackwell Synergy. 21 Aug 2007 <>. Vale, V. and Andrea Juno. J. G. Ballard. San Francisco: Re/Search, 1984. Walden, Scott. “Objectivity in Photography.” The British Journal of Aesthetics 45.3(2005): 258-72. Oxford Journals. 20 Jul 2007 < >. Warhol, Andy and Pat Hackett. POPism: The Warhol Sixties. New York: Harvest Books, 1990. Youngquist, Paul. “Ballard's Crash-Body.” Postmodern Culture: An Electronic Journal of Interdisciplinary Criticism 11.1 (2000): 28 pars. 10 Jan 2007 <>.
巴拉德的《超速性追緝》介紹了一個在車內空間「景觀式」的性愛場景,並且呈現了一種融合科技與身體傷口的性。在此篇論文中我使用宗教字彙去詮釋傷口文化並將之連結到斯萊特利(Dennis Patrick Slattery)、布魯克斯(Peter Brook)與塞爾茲(Mark Seltzers)的傷口論述。故事中的傷口戀物者建構了新基督教以及殉教的新時代。此外,我引用詹明信(Fredric Jameson)烏托邦理論並將汽車空間視為一個烏托邦。在這個空間內,小說角色的性愛場景成了人類與科技神的婚姻體現。羅伯馮利用現代科技產物─相機,記錄了一張張殉道者的神蹟;這些殉道者則以科技神之名宣示了新基督的來臨。
人們被包裹在相機及媒體的宣傳中,反而領會了身體建構的過程。利用桑塔格(Susan Sontag)之相片評論,進而分析小說中的媒體現象後,我認為大眾對名人的好奇是一種釋放情感壓力的安全閥。影像媒體除了讓人人可以長生不死,也遺留了後世一種宗教式的遺跡,不但能給觀看者模仿,也促使他們將當中的人體活力帶到自己的身體中。

James Graham Ballard's Crash describes a “spectacle” of a motorcar sex in which grotesque sexual fantasy and bodily wounds are represented. I define Crash a preface to a wound culture and further connect it with Dennis Patrick Slattery's, Peter Brook's and Mark Seltzers' comments on a wounded body. Characters in Crash are wound-fetishists who are experimenting on the human bodily sensorium and have constructed a Neo-Christianity so that they can announce a new age of martyrdom. Using Fredric Jameson's Utopia theory, I regard the motorcar space as a “utopia,” and the love-making inside is the reification of “marriage” between human bodies and the Technology God.
Robert Vaughan, as a Jesus Christ in the age of Neo-Christianity, records this utopia with another technological product, his camera. I use Susan Sontag's photography theory and explain that photographs in Crash are the representation of a divine scene: they are biblical descriptions of holy martyrs with their wounded bodies. Martyrs bear the name of Technology God and they have to keep announcing an oncoming age of Neo-Christianity.
Being shot by a camera and broadcasted by media images, characters in Crash are enrolled in the process of body-rebuilding. The celebrity exposure on media images is merely a valve to release public curiosity about someone else's body. Thanks to the media image, everyone can be remembered. Media images become religious legacies which bring the later generation a chance to imitate and transmit the vital bodily power to their own body.
其他識別: U0005-0306200810405100
Appears in Collections:外國語文學系所

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