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| Title: | 論大衛·米切爾《雲圖》中的多重體裁：超越敘事準則
Multiple Genres in David Mitchell’s Cloud Atlas: Beyond the Narratological Norm |
| Authors: | 許媁涵
Hsu, Wei-Han |
| Contributors: | 邱彥彬
Chiou, Yen-Bin
許媁涵
Hsu, Wei-Han |
| Keywords: | 大衛·米切爾
《雲圖》
體裁
浸入式劇場
劇場的
變動的位置
多樣性
結構
David Mitchell
Cloud Atlas
Genre
Immersive theater
Theatrical
Mutable position
Multiplicity
Structure |
| Date: | 2020 |
| Issue Date: | 2020-09-02 11:34:45 (UTC+8) |
| Abstract: | 本論文旨在探討大衛·米切爾 (David Mitchell) 的小說《雲圖》中的體裁，其敘事結構上的多元性。大衛·米切爾於《雲圖》中敘述六個故事，採用六個體裁，利用將故事中斷的展開方式連結多個故事角色的生命故事。故事角色們來自不同身份、性別、國家、時代背景，且角色間並無直接接觸，卻藉由觀看接收，觸動了角色間的連結，推動故事進行。由於此小說敘事結構上的多重複雜性，綜觀過去批評家的評論從不同論點出發試圖歸類此小說的複雜的敘事結構，因難用單一種學說將其定義，而使得《雲圖》在體裁的歸類上尚未出現一致的共識。《雲圖》結構上有著許多後設元素，卻仍存在著無法單以後設小說解釋的觀點。而本論文試圖基於此觀點，加入浸入式劇場 (Immersive Theater)的角度，用以解釋結構上中斷帶來讀者選擇的效果、角色們於不同故事中位置的變動，以及貫穿於整本小說中的主題性。此論點的加入，得以解釋《雲圖》中多重文本的設置、文本敘事中斷進而提供讀者的選擇權、以及主要角色身兼說話者與觀看者的特性，冀提供讀者在《雲圖》結構的多元性有新的詮釋視角。
This thesis explores the narratological structure in David Mitchell`s Cloud Atlas. The novel is divided into six individual stories, each told in a different generic mode and each focusing on a different protagonist; these six protagonists come from different countries and social backgrounds, hold different religious or political beliefs, and have very different life stories. Each protagonist develops a connection to the previous story’s protagonist by interacting with a specific item such as a journal, a film, music, etc. featured in the preceding story. By absorbing information from these items, the protagonists connect to one and another, and each story becomes an essential movement in the broader storyline. Critics have analyzed Cloud Atlas from various perspectives, but the novel’s generic multiplicity makes defining it as a part of a specific genre difficult. Indeed, critics have not reached a consensus about the novel’s genre. Even though Cloud Atlas has some metafictional elements, it contains other characteristics that do not fit this classification. Based on this point, this thesis adopts a theatrical angle and points out the similarities between Cloud Atlas’ structure and that of immersive theater to explain how the interruptive narration enables readers to choose their preferred reading sequence, places the protagonists in mutable positions that allow them to function as both speakers and spectators, and facilitates thematic consistency throughout these six distinct stories. In utilizing this theatrical angle to examine the structure of Cloud Atlas, this thesis elucidates the effect of interruptive narration, the transfer of authorship to readers, and the protagonists’ mutable positions in the novel, thereby providing readers a new way of understanding the narratological structure in Cloud Atlas. |
| Reference: | Works Cited
Abbott, Horace Porter. The Cambridge Introduction to Narrative. Cambridge: Cambridge UP, 2011.
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Begley, Adam. “David Mitchell, The Art of Fiction No. 204.” Paris Review, vol.52, no.193, 2010, pp.169-201.
Bentley, Nick. “Trailing Postmodernism: David Mitchell’s Cloud Atlas, Zadie Smith’s NW, and the Metamodern.” English Studies, vol. 99, no. 7, 3 Oct. 2018, pp. 723-743, doi: 10.1080/0013838x.2018.1510611. Accessed 10 Dec. 2019.
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Brown, Kevin. “Finding Stories to Tell: Metafiction and Narrative in David Mitchell’s Cloud Atlas.” Journal of Language, Literature and Culture, vol. 63, no. 1, 2 Jan. 2016, pp. 77-90, doi: 10.1080/20512856.2016.1152078. Accessed 20 Oct. 2019.
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Cobb, Christy. Slavery, Gender, Truth, and Power in Luke-Acts and Other Ancient Narratives. Palgrave Macmillan, 2019.
Dinesh, Nandita. Memos from a Theatre Lab : Spaces, Relationships, and Immersive Theatre. Vernon Press, 2018.
Heim, Caroline. Audience as Performer: The Changing Role of Theatre Audiences in the Twenty-First Century. Routledge, 2016.
Jordan, Justine. “Second Out.” Preview 2004: Fiction. The Guardian, 27 Dec. 2003, www.theguardian.com/books/2003/dec/
27/featuresreviews.guardianreview9. Accessed 10 Nov. 2020.
Kruger, Charles. “Review: The Speakeasy (*****).” Review of Speakeasy, directed by Nick Olivero. Theatre Storm, 2 Mar. 2014, theatrestorm.com/2014/03/02/ review-the-speakeasy/ Accessed 15 Mar. 2020.
McMorran, Will. “Cloud Atlas and If On a Winter’s Night a Traveler: Fragmentation and Integrity in the Postmodern Novel.” David Mitchell : Critical Essays, edited by Sarah Dillon, Gylphi, 2011, pp. 274-309.
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/jun/12/book-club-mitchell-cloud-atlas. Accessed 10 Nov. 2020.
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mar/26/fiction.davidmitchell. Accessed 15 Dec. 2019.
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Peberdy, Donna. “Narrative Trans-Actions: Cloud Atlas (2012) and Multi-Role Performance in the Global Ensemble.” Transnational Cinemas, vol. 5, no. 2,3 July 2014, pp. 167-180, doi: 10.1080/20403526.2014.960775. Accessed 12 Dec. 2019.
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Prudhon, Deborah. “Punchdrunk’s Immersive Theatre: From the End to the Edge.” Sillages Critiques, no. 24, 1 July 2018, journals. openedition.org/sillages- critiques /6341. Accessed 18 May 2020.
Schneeberger, Aaron Francis. “The Genre Spaces of David Mitchell’s Cloud Atlas.” College Literature, vol. 46, no. 3, 2019, pp. 543-572, 10.1353/lit.2019.0026.Accessed 4 Jan. 2020.
Shoop, Casey, and Dermot Ryan. “‘Gravid with the Ancient Future’: Cloud Atlas and the Politics of Big History.” SubStance, vol. 44, no. 1, 2015, pp. 92-106,doi: 10.1353/sub.2015.0011. Accessed 20 Nov. 2019.
Warren, Jason. Creating Worlds: How to Make Immersive Theatre. Nick Hern Books, 2017.
Waugh, Patricia. Metafiction. Routledge, 2013. |
| Description: | 碩士
國立政治大學
英國語文學系
106551012 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0106551012 |
| Data Type: | thesis |
| DOI: | 10.6814/NCCU202001232 |
| Appears in Collections: | [英國語文學系] 學位論文
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