Title

奇幻元素的解析: 論魯西迪小說《羞恥》中的魔幻寫實

Translated Titles

Explicating the Fantastic: A Study of Magic Realism in Rushdie’s Shame

Authors

陳怡帆

Key Words

寓言 ; 民間傳說 ; 魔幻寫實 ; 魯西迪 ; 羞恥 ; allegory ; folklore ; magic realism ; Rushdie ; Shame

PublicationName

中興大學外國語文學系所學位論文

Volume or Term/Year and Month of Publication

2007年

Academic Degree Category

碩士

Advisor

阮秀莉

Content Language

英文

Chinese Abstract

本論文的主要目標是透過魔幻寫實主義探討魯西迪的小說《羞恥》,並說明魔幻寫實如何運用奇幻元素,以文學的手法推翻單音的「真實」並呈現受壓迫者的故事。論文的正文共分為四章。第一章介紹魔幻寫實主義,特別是此文類中的奇幻元素。第二章簡述魯西迪的背景並以魔幻寫實的觀點來探討他的小說《羞恥》。第三章分析《羞恥》中的奇幻元素並闡明這些元素所隱含的寓意。第四章討論小說中的民俗魔幻(folkloric magic),此種奇幻元素不僅增添了書中的魔幻氛圍,更進一步反映出庶民的心聲。最後的結語指出魯西迪藉由魔幻寫實的手法,成功地創造了一個關於巴基斯坦的寓言式諷刺作品。魯西迪利用奇幻元素破壞規則的特性,戳破了官方的謊言並掲露了受壓迫者被掩蓋的現實。因此我們可以說《羞恥》是一部具有反抗精神的小說,由弱者、邊緣人的角度出發,顛覆了主流的論述,並為處於邊緣、劣勢、底層的人民建構屬於他們的故事。

English Abstract

In the thesis I offer a theoretical study of magic realism as well as specific discussion of Salman Rushdie’s Shame to illustrate how magic realism, with its application of the fantastic, allows literature to undermine the official version of truth and make visible the silenced stories of the oppressed. The main body of the thesis is comprised of four chapters. Chapter One surveys magic realism, especially the fantastic elements that are incorporated in this literary genre. Chapter Two introduces Salman Rushdie and discusses his novel Shame from the perspective of magic realism. Chapter Three analyzes the fantastic elements in Shame and brings out the allegorical implications of these elements. Chapter Four focuses on Shame’s folkloric magic which not only constitutes the fantasy in the novel but, most important of all, reflects the voices of the oppressed folk people. Finally, it is my argument in the conclusion that by means of magic realism, Rushdie has created a brilliant allegorical satire on Pakistan. With the rule-breaking use of the fantastic, Rushdie has overturned the official lies and exposed the masked reality of the oppressed. Shame, thus, is a work of resistance; it operates from the weak, from the margins. It, therefore, is a work of subversion, undermining the dominant discourses and reconstructing stories for the peripheral, the subaltern, the faceless people at the bottom.

Topic Category 人文學 > 外國文學
文學院 > 外國語文學系所
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