Please use this identifier to cite or link to this item: http://hdl.handle.net/11455/7258
標題: 論薩爾曼˙魯西迪在《憤怒》中的擬真與作者概念
Simulation and Authorship: On Salman Rushdie's Fury
作者: 王乙琇
Wang, Yi-Hsiu
關鍵字: simulation;擬真;hyper-reality;authorship;post-modernity;reader-response;consumerism;超真實;作者概念;後現代性;讀者反應;消費主義
出版社: 外國語文學系所
引用: Bakhtin, Mikhail. Problems of Dostoevsky's Poetics. Caryl Emerson, ed. and trans. Minneapolis: UP of Minnesota, 1984. Baudrillard, Jean. Forget Foucault. New York: Semiotext, 1987. ---. Simulacra and Simulation. Trans. Sheila Faria Glaser. Ann Arbor: U of Michican Press, 1994. ---. The Consumer Society. London: Sage Publications, 1998. Best, Steven. and Kellner, Douglas. Postmodern Theory: Critical Interrogations. New York: Guilford Press, 1991. ---. The Postmodern Turn. New York: Guilford Press, 1997. Brouillete, Sarah. “Authorship as Crisis in Salman Rushdie's Fury.” Journal of Commonwealth Literature. U of Toronto: Sage Publications, 2005. Butler, Judith. Bodies That Matter. New York: Routledge, 1993. Featherstone, Mike. Consumer Culture and Postmodernism. Los Angeles: Sage Publications, 2007. Hadjiafxendi, Kyriaki and Rapatzikou, Tatiani. “The American Culture-Industry of Image-Making; Part I.” Editorial. European Journal of American Culture 24 (2005): 3-9. Hainge, Greg. “No(i)stalgia: On the Impossibility of Recognising Noise in the Present.” Culture, Theory & Critique. 2005: 1-10. ---, ed. Authorship in Context. New York: Palgrave. 2007. Hussey, Andrew. “Spectacle, Simulation and Spectre: Debord, Baudrillard and the Ghost of Marx.” Parallax 7 (2001): 63-72. Iser, Wolfgang. The Implied Reader: Patterns of Communication in Prose Fiction from Bunyan to Beckett. London: UP of John Hopkins, 1974. ---. "Readers and the Concept of the Implied Reader." The Act of Reading: A Theory of Aesthetic Response. London: UP of Johns Hopkins, (1978) 27-38. McLuhan, Marshall. The Medium Is the Message. New York: Bantam Books. 1967. Reder, Michael R., ed. Conversations with Salman Rushdie. UP of Mississippi. 2000. Rushdie, Salman. Fury. New York: Random House, 2006. Turkle, Sherry. “Constructions and Reconstructions of the Self in Virtual Reality” Eletronic Culture: Technology and Visual Representation. New York: Aperture (1996): 354-365. Turner, Bryan S. The Body and Society :Explorations in Social Theory. 2nd ed. London: Sage Publications, 1996. Richard L. Lanigan. “The Postmodern Author: Foucault on Fiction and the Fiction of Foucault.” The American Journal of Semiotics. 17 Kent: Spring (2001): 253-272. Rivikin, Julie and Ryan, Michael. Literary Theory: An Anthology. 2nd ed. Oxford: Blackwell, 2004. Sax, Benyamin. “Reviews: Remember Foucault, Remember Baudrillard.” The European Legacy 14 (2009): 197-203. Schudson, Michael. “Advertising as Capitalist Realism.” The Advertising and Consumer Culture Reader. Ed. Joseph Turow and Matthew P. McAllister. New York: Routledge, 2009. 237-255. Strasser, Susan. “The Alien Past.” The Advertising and Consumer Culture Reader. Ed. Joseph Turow and Matthew P. McAllister. New York: Routledge, 2009. 25-37.
摘要: 
本文總共分成四章。第一章介紹作者生平及研究目的。本文著重於以消費文化觀點來檢視薩爾曼˙魯西迪的小說《憤怒》。第二章運用布希亞之符號理論消費文化、身體/媒體即資訊、作者概念和讀者反應作為描繪出小說脈絡的基本架構,以分析消費文化社會中,商品的附加價值及擬真手法從再現到自創真實性的窘境,對照創作者對於作品的「原創」堅持與其衝突。第三章為小說文本分析,主要討論故事主角馬立˙索蘭卡(Malik Solanka)於消費社會中的身分認同及其二創作作品: 「小腦袋」(Little Brain)與「玩偶王」(The Puppet Kings)身為商品而非藝術品所帶來的擬真事件及影響。第四章總結擬真現象透過符號操作雖帶來感官滿足,使得身分認同的構成過程造成認知問題。後現代社會的讀者概念,重視在此符號主宰的消費社會中的作者概念的形成,透過讀者/消費者的而有不同解讀,該多元解讀能引起憤怒,亦能使憤怒轉換成創作的靈感。如同魯西迪以此書,作為後現代都會生活經驗的寫照。

The thesis consists of four chapters. Chapter one introduces the author and the purpose of the study by providing a critical viewpoint to examine Salman Rushdie's novel, Fury, from the perspective of sign operations and consumerism. Chapter two employs Jean Baudrillard's social theory of sign, consumer culture, body/medium as message, the notion of authorship and the reader response as the main structure to illustrate the social context of the novel. Chapter three focuses on the literary analysis on Fury, discussing how Malik Solanka's identities as a father, a lover, and an author in a consumer society influence his life and how his creations, Little Brain and The Puppet Kings, serve as commodities to influence, instead of as artifacts. Chapter four concludes that simulation through sign operations arouses sensual satisfactions but even problematizes the formation of identities. The readings by the readers and the consumers reframe the formation of authorship in the sign-dominated society. Multiple interpretations inflame fury and inspire creations. In this case, Rushdie writes the novel as the postmodern portraiture of metropolitan life.
URI: http://hdl.handle.net/11455/7258
其他識別: U0005-1701201215540500
Appears in Collections:外國語文學系所

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