- 學位論文
瑪格麗之<書>:<<瑪格麗˙坎普傳>>
The "book" of Margery Kempe: The Book of Margery Kempe
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摘要
在文末，瑪格麗感謝她的手抄員時說到：他用「他自己的」寫法和拼法呈現了「真實的意義」。如果《瑪格麗．坎普傳》的文字所呈現的只是手抄員筆下真實意思的話，那麼對瑪格麗而言，真實的意思又在何處？ 在中世紀的寫作傳統中，作者和讀者的關係是一股閱讀和書寫欲望的流動。而在這一股欲望的傳遞之中牽涉到一個重要的議題就是：作家必須與語言和肉體掙扎。語言和肉體是中世紀兩項重要知識傳遞的媒介，不過它們的物質性卻常常讓作家和讀者在追求神聖知識的過程中受到限制。於是在中世紀宗教文學裡，我們可以嗅出一股追求新語言和新肉體的欲望，而這些新的媒介被賦予確保上帝的知識不被扭曲和誤傳的使命。新的肉體是原來的肉體被去肉體化，去掉其不可靠的感官經驗；而新的語言則是將原有的語言去語言化，去掉其複雜、獨斷、且常常誤導讀者的華麗文字以及意旨－意符關係。而所謂忠於瑪格麗原味的意義便是由這兩項新的媒介來傳遞。瑪格麗的哭泣奇觀所展現的是一種去語言化的哭泣語言，以及一種去肉體化的抽續肉體，這兩者將她與上帝溝通的神聖幻象轉化成真實世界的即時文本。常人理智確實無法理解瑪格麗的哭泣語言以及抽續肉體，不過她的哭泣奇觀就像彌撒一樣使她的觀眾讀者親身經歷上帝的存在。面對這樣不確定、不熟悉、駭人的哭泣奇觀，觀看者受到的驚嚇在他們心中形成一個恐懼的意符。在中世紀基督文明之中，恐懼就是面臨上帝的存在所應有的態度，恐懼就是神聖知識的開端。而唯有瑪格麗哭泣的語言和抽續的肉體才能呈現出這種文字所欠缺的氛圍，才能將最終權威（auctoritas）的意義以及作者回歸權威的欲望安然傳遞到讀者身上。
並列摘要
Margery thanks her scribe for making the “trewe sentens” “in hys maner of wrytyng & spellyng” (made the true sentences in his manner of writing and spelling), but his manner is “not clerly ne opynly to owr maner of spekyng” (not clearly and openly in accordance with our manner of speaking). If The Book cannot present the exact truth for Margery, where might be the “trewe sentens” in her “maner of wrytyng & spellyng”? From the relation between readers and writers, between reading and writing the authority in the Middle Ages is born a translation of desire and failure from medieval writers to readers. In this translation of desire lies a crucial struggle with body and language—the two primary media in human representation. The struggles compel writers to transplant in their readers a readerly desire for the authority and at the same time spur them to search for new media of body and language: the de-fleshed body that is devoid of its sensual natures and the de-languaged language that is empty of arbitrary signifier-signified relation and misleading rhetoric. It is with these two media: the de-languaged language of crying and tears and the de-fleshed body of compulsion, that Margery translates her divine visionary text into wonder and marvel in the eyes of her audience. Like masses, Margery’s crying spectacle, with its de-languaged crying language and defleshed compulsive body, creates a signifier of fear that allows the audience experience the presence, and acquire the knowledge, of God, while fear is the beginning of the unknowable, the uncertainty, and the beginning of the knowledge of God for medieval Christians.