寄生在日常生活中：《一個睡覺的人》茍活（無）經驗的如歌寫照

法國作家培瑞克曾與導演凱桑合作，於1976年將其自傳性小說《一個睡覺的人》改拍成電影。這部畫、音、語、樂不同步的複調影作，以抽象化、夢境似的黑白攝影，敘事結構上時空紊亂的拼圖效果，重新詮釋了小說遁世、隱退的主題。片中唯一的人物，無來由地退出社會生活，不言不語，照吃照睡，走來走去。本文首先將簡述改編的電影對小說之重要取捨，而後逐步分析這三項行為特徵或行動（不言不語、照吃照睡、走來走去），如何與這部電影特有的「迷人」美學以及音樂性節奏感緊密結合。同時，也將透過德勒茲的電影分析、波特萊爾的互文，以及阿岡本對於現代經驗的闡釋，來重讀片中觸及現代生活核心議題的殘活（無）經驗意涵。

關鍵字

培瑞克；文學與電影；互文性；遁世；漠然無動於衷；行走；日常生活；經驗

並列摘要

The French writer Georges Perec once collaborated with the director Bernard Queysanne to film his autobiographical novel Un homme qui dort (aka A man who sleeps) in 1976. This abstract, dreamlike black-and-white film, using the techniques of polyphonic cinema, reinterprets the novel's theme of avoidance or withdrawal from the world. The film's only character, a young man, inexplicably withdraws from society and goes about his life, eating and sleeping without saying a word, and almost mechanically walking back and forth. The character may be understood as representing a familiar ”type” in traditional and modern literature, the ”city stroller,” the ”wandering Jew,” and above all Bartleby in Melville's famous short story. This essay will first briefly describe how the film substantially selects from the novel, then go on to analyze three aspects of his behavior (silence, eating and sleeping, pacing) and how they are closely linked to the rhythms of this film's distinctive ”fascination” aesthetic and its musical rhythm. Meanwhile, this article will refer to the filmic ideas of Gilles Deleuze, Charles Baudelaire's poetry on modern life, and Giorgio Agamben's philosophical reflections on modern experience in order to enlighten us about this man who sleeps while living and walking in silence.