傷勢／傷逝：《2046》中的時空重返

蔡秀枝

《中山人文學報》 23期 (2006/12) Pp. 157-188

https://doi.org/10.30095/SYJH.200612.0009

摘要

This paper addresses the question of the narrative function played by the tangled repetitive fragments of various love affairs and memories of Chow Mo-Wan (Leung Chiu-Wai) in Wong Kar-Wai's mavie 2046 in terms of the narratological analysis, Mieke Bal's narrative focalization, Deleuze's concept of memory and repetition, and Henri Lefebvre's discourse on the function of space production and reproduction on the stage of the lived representational space. The fragmentary love affairs, represented as incessant re-visions of a long lost love affair, play an important narrative function, which not only increases the protagonist Chow's memory sediments and sentimentality but also conflates the cultural significance and aesthetic depth that the movie's special and complicated visual aesthetics would have aimed to bring forth-to seemingly make everything stuck to the promise of a world that never changes. The dexterously recorded and transcribed fragments of love successfully create a de-contextualized arena to entrap their characters and allow the movie viewers/readers to re-inscribe different kinds of wound/mourning on the fragmented love stories and the im/possible love objects.

關鍵字

王家衛 ； 2046 ； 敘事學 ； 聚焦 ； 記憶 ； 重複 ； 米姬•巴爾 ； 德勒茲 ； 列斐弗爾

並列摘要

This paper addresses the question of the narrative function played by the tangled repetitive fragments of various love affairs and memories of Chow Mo-Wan (Leung Chiu-Wai) in Wong Kar-Wai's mavie 2046 in terms of the narratological analysis, Mieke Bal's narrative focalization, Deleuze's concept of memory and repetition, and Henri Lefebvre's discourse on the function of space production and reproduction on the stage of the lived representational space. The fragmentary love affairs, represented as incessant re-visions of a long lost love affair, play an important narrative function, which not only increases the protagonist Chow's memory sediments and sentimentality but also conflates the cultural significance and aesthetic depth that the movie's special and complicated visual aesthetics would have aimed to bring forth-to seemingly make everything stuck to the promise of a world that never changes. The dexterously recorded and transcribed fragments of love successfully create a de-contextualized arena to entrap their characters and allow the movie viewers/readers to re-inscribe different kinds of wound/mourning on the fragmented love stories and the im/possible love objects.

並列關鍵字

Wong Kar-Wai ； 2046 ； narratology ； focalization ； memory ； repetition ； Mieke Bal ； Gilles Deleuze ； Henri Lefebvre

參考文獻

Arthur, Paul.(2005).Philosophy in the Bedroom: Wong Kar-wai`s 2046.Cineaste.30(4),6-8.

Bakhtin, M. M.(1990).The Dialogic Imagination: FourEssays.Austin:U of Texas P.

Bal, Mieke.(1997).Narratology: Introduction to the Theory of Narrative.Toronto:U of Toronto P.

Barthes, Roland.(1989).Image-Music-Text.New York:The Noonday P.

Barthes, Roland.(1994).Elements of Semiology.New York:Hill and Wang.