納塔莉‧薩侯的《童年》：在《生死之間》走出的文學之路

法國「新小說」(Nouveau Roman)前驅作家納塔莉‧薩侯(Nathalie Sarraute)於1968年發表《生死之間》(Entre la vie et la mort)，作家寫作的尋思過程於此文本作為主要的敘事內容。相隔約二十年，於1983年出版自傳性小說《童年》(Enfance)，而納塔莉‧薩侯亦經常將兒童對文字的敏感及表達的力有未逮與書寫經驗連結。《生死之間》及《童年》，其書名為納塔莉‧薩侯書寫理念的關鍵詞。經由敘事中作家和小孩這兩個角色的文字、語言經驗，文本聲音所突顯的正是納塔莉‧薩侯所關注的書寫問題。本文試圖藉由這兩本書探究作者書寫風格化的形成。本文於第一章節探究文本聲音如何取代傳統人物的塑造。透過敘事學、語言學觀點分析文本變動的發話系統，藉此發現文本敘事方法的異同以呈現薩侯的新小說書寫特點。此外，薩侯亦在這些流動的話語中匯入意識流，以書寫揭開心理活動。尤其在自傳性小說中，對話策略的引入使文本敘事具獨白特性，然而，敘事主體聲音分化，其主體性亦在發話者的對立中遭受質疑。由於小孩的聲音，或者更確切地說，相仿的童年片段出現在兩個文本中，虛構小說《生死之間》和自傳性小說《童年》互文。本文在第二章節先提出「生死之間」及「童年」兩個概念在薩侯寫作中的意義。接著著眼於文本分析，運用互文觀念探究一個以童年經驗為創作藍本的書寫風格 ─ 「《童年》：在《生死之間》走出的文學之路」。在第三章，藉著結構方塊詮釋《童年》一書中小孩擺脫既定的美、母親以及傳統寫作框架以尋求主體性的矛盾過程，並以此比喻個人書寫風格成形前與既定寫作模式的拉距、表達受困於文字意涵而彷彿處在生死之間的威脅。實際上，「一個成為作家的故事」交織於兩個文本中，並非只透過一本自傳性小說。是閱讀中重覆的感知經驗使敘事主體有了逐漸寫實化的特性。更重要的是，從《生死之間》到《童年》，薩侯經由敘事主體對文字的不同領略，慢慢跳脫敘事內容，一則書寫寓言浮現在文本聲音繚繞間，其所彰顯的是作者的文學主體性。在兩個文本間，敘事的迴旋往復亦表明了作家對於想說又難以言說的渴望與掙扎，然而作家之所以為作家，正因為其文字的生命力就體現在這樣的「生死猶疑」之間。

關鍵字

發話；複音；敘事；主體；意識流；對話性；互文；重複；書寫；生死之間；童年；感覺；經驗；風格化

並列摘要

Acknowledged as one of most significant French writers of our time, Nathalie Sarraute was one of the pioneers of the Nouveau Roman genre of novel-writing. In 1968, Sarraute published the novel "Entre la vie et la mort" (Between Life and Death). As a result of her experimental style and abandonment of traditional literary conventions, "Entre la vie et la mort", like most of her work, was considered a difficult read. 15 years later, in 1983, Sarraute penned her only autobiography "Enfance" (Childhood). In contrast to her novels, Sarraute’s memoir is considered a much easier read. The aim of this dissertation is to illuminate her writing philosophy through these two literary works, as "Entre la vie et la mort" and "Enfance", although differing in genre, are the keys to decrypting the cipher of Nathalie Sarraute’s style. Chapter one focuses on the replacement of traditional narration with textual voice. Through narratological and linguistic analysis of the fragmentary narrative and the differences and similarities in narration of "Entre la vie et la mort" and "Enfance", the features of Sarraute’s style and her stream of consciousness are discovered. The emphasis of Chapter two is on the concept and significance of "between life and death" and "childhood". Through intertextuality, we explore the writing style blueprinted on childhood experience ─ "Childhood" : Literature "Between Life and Death". Chapter three uses semantic structure to interpret Enfance. As the narrating child struggles with the definition of beauty and the image of the mother, Saurraute contradicts with the meaning of narration as it limits her literary expression. The disturbance in emotion is consistent to that of a life threatening situation. From the print of "Entre la vie et la mort" to the publishing of "Enfance", Nathalie Saurrate slowly transforms traditional narrative models of character and plot to a novel of new. As a fable-like tone ambiences the textual voice, the literary subjectivity of the author is also highlighted. The intertextuality between the two works displays the desires and struggles of the indescribable, however, being a writer, having something indescribable is walking the line between life and death.

並列關鍵字

enunciation ； polyphony ； experience ； subjectivity ； childhood ； between life and death ； writing ； narration ； sensation ； repeat ； the stream of consciousness ； dialogic ； intertextuality

參考文獻

許綺玲。〈日常與無常：讀巴特的《服喪日記》〉，《中外文學》、Chung wai literary monthly，40卷，1期。台北：中外文學月刊社，2011年3月。頁145-177。

RIMBAUD Arthur, « Lettres a Georges Izambard du 13 mais 1871 », in Œuvre Completes Correspondance, Paris, Robert Laffont, 1992.

蔡淑玲 (TSAI Shu-Ling)。〈莒哈絲時空異質的影像書寫〉，《中外文學》、Chung wai literary monthly，27卷，9期。台北：中外文學月刊社，1998。頁128 - 151。

ECO Umberto, Lector in fibula (traduit de l’italien par Myriem Bouzaher), Grasset, 1985 (edition originale : Milan 1979).

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