- 期刊
Approaching Death during the Course of Fictional and Factual Storytelling: On Josef Winkler's Natura morta and Domra
在虛構與紀實的敘事遊戲中貼近死亡：談悠瑟夫．溫克勒的《靜物畫》與《旃陀羅》
摘要
While travelling, Josef Winkler is willing to observe, note down, and photograph whatever might interest him. He engages himself in people preparing for their final journey and the petty bourgeois around them. The travel notes containing observations and scenes will be converted into narrative pictures. According to Josef Winkler, he is able to think with pictures. While working on the novella Natura morta (2001), he ＂hears＂ ＂a story＂ from the pictures crafted together. As well as factual writing, the story certainly needs fictional narration. In the novel Domra (1996), on the contrary, the Austrian writer only entrusts his conceptions to the pictures in writing and photographic form. At the same time, the fictitious components will be drowned out by realistic reproduction as far as possible. The research mainly raises the following question: How and why does the factual storytelling in Natura morta and Domra come to light. If Josef Winkler as a tourist focuses himself especially on death, and constantly pays attention to it, than there is no doubt that the ways and the functions of the travel are imperatively conditioned by the purpose of the travel. From this point of view, Josef Winkler's (literary) journeys can particularly reflect his mental route in relation to matters of life and death.
並列摘要
旅途中的溫克勒總喜歡追尋目光所繫，繼而觀察、記錄與拍照。他尤其關注臨將結束人生旅程之人及其周邊市井氛圍，並善於將囊括各類觀察與場景的旅遊紀事轉化為敘事圖像。如溫克勒坦言，他「只能以圖像思索」。於撰寫中篇小說《靜物畫》（2001）之際，他從拼湊而得的圖像中「聽出」一則除了紀實手法以外也需虛構敘事的「故事」。而在長篇小說《旃陀羅》（1996）裡，這位奧地利作家則將觀照寄寓於經由文字及寫真所確立之圖像。此間，虛構元素當盡可能為寫實再現的聲浪所掩蓋。本文的主要提問是：«靜物畫»與«旃陀羅»二作如何及為何展現其紀實敘事？作為觀光客，溫克勒特別聚焦於死亡案例，且一再心繫於此。因此，旅遊的方式與任務無疑不受限於旅遊的目的。由此看來，溫克勒（筆下）的各類旅遊必然也反映了他個人觀照生死的心理流轉。