暴力与冲突
摘要
在过去的20年间,一批精英学者不断深入探索文化理论、人类学、社会学和哲学理论,他们借此宣告了历史这个神圣词语的崇高地位受到了挑战,并且昭示出这样的事实:作为经验组织形式的时间性已经被空间性以及在空间中的情感和社会体验所代替。人类学家和女性主义理论家提醒我们:理论是游移的,知识具有定位性,主体是地方化的,社会团体和公共领域被赋予了飞散和全球化的特征。面对持续不断的各种效应,现实和超现实,后工业经济和“全球化城市”,文化理论家亨利·列斐伏尔向读者提出了忠告:“我们应该去认识空间,了解空间中发生了什么,并起到什么作用。”同时,米歇尔·福柯以他的预言宣告了空间时代的到来:“如我们所知,伴随着历史的发展、中止、危机与循环,以及过去长时间积累下来的各种主题,同时也随着逝者所具有的凌驾一切的强势,及其对世界富有威胁性的封锁,‘历史’成为19世纪困扰人类的最主要因素。……而当今的时代或许应是空间的纪元。我们身处在一个同时性的时代:这是一个并置的年代,是远近相交、并驾齐驱的年代、是星罗散布的年代。其中由时间发展出来的世界经验远远少于连系着不同点与点之间的混乱网络所形成的世界经验。”列斐伏尔和福柯这两位哲学家共同昭示了一个事实:20世纪末,在被称为“空间转向”的潮流中,人们对空间与地点的反思已经使空间从部分科学领域以及人文社会科学的边缘中走了出来。
乔伊斯·卡罗尔·欧茨(1938- ),这位拥有“巴尔扎克式的野心”,“想把整个世界装进一部书里”的作家,在空间转向的时代浪潮影响下,表现出对空间的格外关注,这一点尤其体现在她对都市背景的青睐上。欧茨十分偏爱曾经带给她无数创作灵感的城市底特律,并把它称为“浪漫之地”和“伟大的主题。”G. F.沃勒对此曾说过:“在欧茨的想象中的核心象征就是底特律。在所有的美国城市中,底特律一定是美国众多错综复杂的神话中最有力的一个。”而欧茨这种对城市空间的关注建立在她的现实主义创作准则之上。正如格雷·约翰逊所说:“欧茨独特的才能体现在她对人物心理状态的精确的表达以及她将人物强烈的个人情感同美国生活更广泛的现实结合起来这两方面。”因此,在研究欧茨作品时有我们必要深入研究作者所生活的社会现实,进而对影响她创作的各种思潮进行探讨。原因在于:现实是塑造欧茨世界观和艺术观的基础,欧茨所生活时代的各种思潮对她的创作产生了重要的影响。因此,我们在研究欧茨时有必要去了解当时的社会变革和文化背景。
欧茨的创作生涯从一开始就继承了弗兰克·奥康纳的传统,并且在创作中表现出对陀思妥耶夫斯基作品中诸如罪与罚、邪恶与救赎等主题的执著与热忱。一方面,她的小说以深刻的视野和强烈的震撼力呈现在读者面前;另一方面由于她的作品中汇聚暴力现象,并在叙事中常常穿插难以预料的突发事件,这给读者带来了无比困惑和难以接受的阅读感受。一些评论者因此对欧茨作品中大量的暴力情节颇有微词。但是对于欧茨来讲,她之所以对暴力情有独钟,是为了表明:黑暗的现实成为汇聚自然、社会以及情感这三方面潜在压制力的集合点,是她作品中的人物窖藏人类所有意志力来拼命抵御的压迫之源。她认为自己作品中的暴力现象是建立在更为严酷的现实基础之上,而作家的职责要求她必须以真实的刻画再现出现实的残暴。
综上所述,论文的主题是通过列斐伏尔和福柯的社会空间理论分析欧茨小说中空间性,从而探讨欧茨作品中突出的暴力现象的根源。
第一章是文献综述,主要介绍了乔伊斯·卡罗尔·欧茨的创作背景,以及论文中依照作品主题阶段性选取的4部小说(《他们》、《奇境》、《光明天使》和《狐火》)的内容梗概。同时详细阐述了列斐伏尔和福柯有关空间性的相关理论要点。
第二章在列斐伏尔的理论框架下分析《他们》中的空间性。列斐伏尔所定义社会空间不仅仅局限在地理意义上,同时也是文化交错和社会交往的产品和竞技争夺的领域,其中构成社会关系的意识形态、社会文化习惯以及具象实践都可能汇聚在一起,并在这个领域中得以记录。本章首先以空间视角深刻解读了主人公在城市空间中幻灭和觉醒,同时揭示出恐怖主义弥漫在异化、重复和同质化的日常生活中,它给城市贫民带来毁灭性的打击,也成为欧茨小说中暴力现象的根源所在。接着,通过进一步参照马克思主义辩证法中物极必反的观点,暴力被解读为推动城市革命爆发的积极性力量。它对现代社会从抽象空间向差异空间迈进起到了推动作用。
第三章以福柯空间化的权力和话语理论为依据,集中探讨了《奇境》、《光明天使》和《狐火》中的空间性。福柯的话语理论在分析小说时起到了以下两方面的作用:首先,为描述意识形态和政治意识对欧茨小说中个体命运造成的影响提供了宏观的空间框架;其次,福柯对话语模式的阐释为欧茨小说中的空间构型提供了系统的理论参照。本章围绕福柯理论中的“圆形监狱”这个核心概念,分析欧茨作品中的空间构型。福柯认为:真正使得规训的性质和作用发生根本性改变的,是边沁所提出的全景敞视建筑的构想、所谓全景敞视建筑是边沁设想的一种新式监狱:一个像圆环一样的建筑,中央有座塔楼,塔楼上有很大的窗子,面对圆环的内侧,外围的建筑划分成一间间的囚室,囚室有面对塔楼的窗户,塔楼通过窗户可以有效地监视囚室的各种活动,这是一种全景敝视的结构。在小囚室里的人只能被看而什么也看不见,隙望塔内的人则可以清楚地观察小囚室中的人却不会被看到。这种关键性的机制产生了重要的后果。在这种监狱体系中,权力技术被精致化了,通过注视性的权力机制保证权力功能的发挥,监控者通过注视使被监控者处于权力控制中。这种注视性控制,福柯称其为“权力的眼睛”。透过“权力的眼睛”在空间的深入渗透,现代管理机制得以有效运行,压制和反抗也由此产生。因此,参照福柯的对空间构型的阐述,我们看出:欧茨作品中的冲突和暴力从根本上源于现代社会中以圆形监狱为模本的微观化管理机制。
论文最后推出结论:通过借用列斐伏尔和福柯的空间理论来分析欧茨的小说,我们可以对其作品中的突出的暴力和冲突现象的原因提供有效的解释。
Over the last two decades, a constellation of scholars drawing on cultural theory, anthropology, sociology and philosophy declared that the high position of history as a sacred term is challenged, but temporality as the organizing form of experience has been superseded by spatiality, the affective and social experience of space. Anthropologists and feminist theorists remind us that theory travels, knowledge is posited, subjects localized, communities and public spheres diasporic and globalized. In the face of the insistent effects, material and hyperreal, of postindustrial economics and“global cities”, cultural theorists exhort their readers“to recognise space, to recognise what‘takes place’there and what it is used for.”Michel Foucault has his famous proclamation which predicts the coming era of space:“The great obsession of the nineteenth century was, as we know, history: with its themes of development and of suspension, of crisis, and cycle, themes of the ever-accumulating past, with its great preponderance of dead men and the menacing glaciation of the world. […] the present epoch will perhaps be above all the epoch of space. We are in the epoch of simultaneity: we are in the epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dispersed. We are at a moment.”Both of Lefebvre and Foucault hereby declared the prominent fact that in the twentieth century’s last years, space/place reflections have moved out from the margins to several sectors of sciences and the humanities in what has been summarized as“the spatial turn”.
Influenced by such trend of spatial turn, Joyce Carol Oates (1938- ), the author with a“Balzacian”hunger“to put the whole world into a book,”shows her particular interest in space and place, especially in urban space, for Oates has a preference for Detroit, the American city which has provided her infinite inspiration. She thus calls it“a romantic place”and“great subject”. As what G. F. Waller has noted, Detroit is“a central symbol in Oates’s vision,”and“of all American cities, Detroit must be one of the most powerfully many overlapping and confusing myths of America.”Her favor of space in writing is based on her realistic frame of reference. Grey Johnson has commented:“Oates’s particular genius is her ability to convey psychological states with unerring fidelity and to relate the intense private experiences of her characters to the larger realities of American life.”Therefore, it is necessary for us to read Oates by delving into the social milieu, within which Oates lives, and making an examination of the currents of thought that have a lingering influence to her literary creation, because all these have fashioned Oates’s Weltanschauung, or world outlook, and her aesthetic assumptions.
From the beginning of her career, Oates has always been a writer to conjure with, taking up the aesthetic legacy of Flannery O’Connor and embracing the Dostoyevskian themes of crime and punishment, sin and redemption. Where her depth of vision and the explosive power of her fiction recommend themselves to the reader, the violence and other extraordinary happenings converged in her works invite puzzlement and difficulty on the part of the reader. Besides, some critics have faulted her for the abundance of violence in her fiction, however, in Oates’s case, lingering over violent plot is to show that this dark reality becomes a potentially overwhelming convergence of forces—natural, social, psychological—against which her characters pit their human will to endure. Violence thus becomes one of the centers of the criticism on Oates’s literary creation. Oates holds that violence in her fiction is based on the even harder reality and her obligation as a writer is to depict them with authenticity.
Herein evolves the theme of the present dissertation—the exploration of the springhead for Oates’s predominant occupation of violence in writing by investigating the spatiality in her fiction within the framework of Lefebvre and Foucault’s theory on social space.
The introduction of the dissertation, first of all, mainly explicates the background of Joyce Carol Oates’s literary creation, and outlines the plot of her four novels (them, Wonderland, Angle of Light and Foxfire), which are chosen in the study according to the stages of Oates’s writing. After that, Lefebvre and Foucault’s ideas on spatiality are expounded.
Chapter Two mainly investigate the spatiality in them in the perspective of Lefebvre’s space theory. Lefebvre defines social space not merely as the geography of place but as a product of cultural interaction and social intercourse, a sphere of contest in which it is possible to register the convergence of ideological beliefs, socio-cultural habits, and representational practices in constituting what we know more broadly as social relations. This chapter begins with an in-depth spatial reading of the protagonists’disillusion in urban space and concludes terrorism in the alienated everyday life and the uniform, repetitive everydayness as well, brings catastrophe to lower-class citizens, thus it is the springhead of violence in Oates’s fiction. Furthermore, with Marxian critique—things will develop in the opposite direction when they become extreme, violence then is read as a positive force that promotes urban revolution to erupt and thereby it accelerates the social evolvement from the abstract space to the differential space.
Chapter Three focus on the spatiality in these three novels: Wonderland, Angle of Light and Foxfire with Foucault’s methodology on spatialized power and discourse. The relevance of Foucault’s discourse theory centers around two potential functions. First, it provides an expansive spatial framework for describing the broad ideological and political influences impacting the individuals in Oates’s fiction. Second, Foucault’s mode of discourse inquiry provides a systematic analysis of the spatial configuration in Oates’s fiction. The key concept in this chapter is Bentham’s Panopticon adopted by Foucault as a footstone of his space theory. Bentham designed a cylindrical building of four to six stories consisting of a large number of single cells. The cells were arranged circularly or polygonally around a central watchtower with galleries and viewing box. The tower served as the architectural and administrative center, from which the guards could see into every cell without being seen by the prisoners. This was made possible by a clever and extremely practical lighting arrangement. Windows in the sides of the outer cylinder kept the prisoners always in the light, while the guards remained hidden in the dark center. In such system of prison, power becomes microcosmic, and the gaze thus was called by Foucault as“the Eye of Power.”Therefore, the violence and conflict in Oates’s fiction is deeply rooted in the microcosmic modern mechanism of power with Panopticon as its model.
The last part of the dissertation concludes that the spatial reading of Oates’s fiction provide a viable explanation to the springhead for Oates’s predominant occupation of violence in writing.
乔伊斯·卡罗尔·欧茨(1938- ),这位拥有“巴尔扎克式的野心”,“想把整个世界装进一部书里”的作家,在空间转向的时代浪潮影响下,表现出对空间的格外关注,这一点尤其体现在她对都市背景的青睐上。欧茨十分偏爱曾经带给她无数创作灵感的城市底特律,并把它称为“浪漫之地”和“伟大的主题。”G. F.沃勒对此曾说过:“在欧茨的想象中的核心象征就是底特律。在所有的美国城市中,底特律一定是美国众多错综复杂的神话中最有力的一个。”而欧茨这种对城市空间的关注建立在她的现实主义创作准则之上。正如格雷·约翰逊所说:“欧茨独特的才能体现在她对人物心理状态的精确的表达以及她将人物强烈的个人情感同美国生活更广泛的现实结合起来这两方面。”因此,在研究欧茨作品时有我们必要深入研究作者所生活的社会现实,进而对影响她创作的各种思潮进行探讨。原因在于:现实是塑造欧茨世界观和艺术观的基础,欧茨所生活时代的各种思潮对她的创作产生了重要的影响。因此,我们在研究欧茨时有必要去了解当时的社会变革和文化背景。
欧茨的创作生涯从一开始就继承了弗兰克·奥康纳的传统,并且在创作中表现出对陀思妥耶夫斯基作品中诸如罪与罚、邪恶与救赎等主题的执著与热忱。一方面,她的小说以深刻的视野和强烈的震撼力呈现在读者面前;另一方面由于她的作品中汇聚暴力现象,并在叙事中常常穿插难以预料的突发事件,这给读者带来了无比困惑和难以接受的阅读感受。一些评论者因此对欧茨作品中大量的暴力情节颇有微词。但是对于欧茨来讲,她之所以对暴力情有独钟,是为了表明:黑暗的现实成为汇聚自然、社会以及情感这三方面潜在压制力的集合点,是她作品中的人物窖藏人类所有意志力来拼命抵御的压迫之源。她认为自己作品中的暴力现象是建立在更为严酷的现实基础之上,而作家的职责要求她必须以真实的刻画再现出现实的残暴。
综上所述,论文的主题是通过列斐伏尔和福柯的社会空间理论分析欧茨小说中空间性,从而探讨欧茨作品中突出的暴力现象的根源。
第一章是文献综述,主要介绍了乔伊斯·卡罗尔·欧茨的创作背景,以及论文中依照作品主题阶段性选取的4部小说(《他们》、《奇境》、《光明天使》和《狐火》)的内容梗概。同时详细阐述了列斐伏尔和福柯有关空间性的相关理论要点。
第二章在列斐伏尔的理论框架下分析《他们》中的空间性。列斐伏尔所定义社会空间不仅仅局限在地理意义上,同时也是文化交错和社会交往的产品和竞技争夺的领域,其中构成社会关系的意识形态、社会文化习惯以及具象实践都可能汇聚在一起,并在这个领域中得以记录。本章首先以空间视角深刻解读了主人公在城市空间中幻灭和觉醒,同时揭示出恐怖主义弥漫在异化、重复和同质化的日常生活中,它给城市贫民带来毁灭性的打击,也成为欧茨小说中暴力现象的根源所在。接着,通过进一步参照马克思主义辩证法中物极必反的观点,暴力被解读为推动城市革命爆发的积极性力量。它对现代社会从抽象空间向差异空间迈进起到了推动作用。
第三章以福柯空间化的权力和话语理论为依据,集中探讨了《奇境》、《光明天使》和《狐火》中的空间性。福柯的话语理论在分析小说时起到了以下两方面的作用:首先,为描述意识形态和政治意识对欧茨小说中个体命运造成的影响提供了宏观的空间框架;其次,福柯对话语模式的阐释为欧茨小说中的空间构型提供了系统的理论参照。本章围绕福柯理论中的“圆形监狱”这个核心概念,分析欧茨作品中的空间构型。福柯认为:真正使得规训的性质和作用发生根本性改变的,是边沁所提出的全景敞视建筑的构想、所谓全景敞视建筑是边沁设想的一种新式监狱:一个像圆环一样的建筑,中央有座塔楼,塔楼上有很大的窗子,面对圆环的内侧,外围的建筑划分成一间间的囚室,囚室有面对塔楼的窗户,塔楼通过窗户可以有效地监视囚室的各种活动,这是一种全景敝视的结构。在小囚室里的人只能被看而什么也看不见,隙望塔内的人则可以清楚地观察小囚室中的人却不会被看到。这种关键性的机制产生了重要的后果。在这种监狱体系中,权力技术被精致化了,通过注视性的权力机制保证权力功能的发挥,监控者通过注视使被监控者处于权力控制中。这种注视性控制,福柯称其为“权力的眼睛”。透过“权力的眼睛”在空间的深入渗透,现代管理机制得以有效运行,压制和反抗也由此产生。因此,参照福柯的对空间构型的阐述,我们看出:欧茨作品中的冲突和暴力从根本上源于现代社会中以圆形监狱为模本的微观化管理机制。
论文最后推出结论:通过借用列斐伏尔和福柯的空间理论来分析欧茨的小说,我们可以对其作品中的突出的暴力和冲突现象的原因提供有效的解释。
Over the last two decades, a constellation of scholars drawing on cultural theory, anthropology, sociology and philosophy declared that the high position of history as a sacred term is challenged, but temporality as the organizing form of experience has been superseded by spatiality, the affective and social experience of space. Anthropologists and feminist theorists remind us that theory travels, knowledge is posited, subjects localized, communities and public spheres diasporic and globalized. In the face of the insistent effects, material and hyperreal, of postindustrial economics and“global cities”, cultural theorists exhort their readers“to recognise space, to recognise what‘takes place’there and what it is used for.”Michel Foucault has his famous proclamation which predicts the coming era of space:“The great obsession of the nineteenth century was, as we know, history: with its themes of development and of suspension, of crisis, and cycle, themes of the ever-accumulating past, with its great preponderance of dead men and the menacing glaciation of the world. […] the present epoch will perhaps be above all the epoch of space. We are in the epoch of simultaneity: we are in the epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dispersed. We are at a moment.”Both of Lefebvre and Foucault hereby declared the prominent fact that in the twentieth century’s last years, space/place reflections have moved out from the margins to several sectors of sciences and the humanities in what has been summarized as“the spatial turn”.
Influenced by such trend of spatial turn, Joyce Carol Oates (1938- ), the author with a“Balzacian”hunger“to put the whole world into a book,”shows her particular interest in space and place, especially in urban space, for Oates has a preference for Detroit, the American city which has provided her infinite inspiration. She thus calls it“a romantic place”and“great subject”. As what G. F. Waller has noted, Detroit is“a central symbol in Oates’s vision,”and“of all American cities, Detroit must be one of the most powerfully many overlapping and confusing myths of America.”Her favor of space in writing is based on her realistic frame of reference. Grey Johnson has commented:“Oates’s particular genius is her ability to convey psychological states with unerring fidelity and to relate the intense private experiences of her characters to the larger realities of American life.”Therefore, it is necessary for us to read Oates by delving into the social milieu, within which Oates lives, and making an examination of the currents of thought that have a lingering influence to her literary creation, because all these have fashioned Oates’s Weltanschauung, or world outlook, and her aesthetic assumptions.
From the beginning of her career, Oates has always been a writer to conjure with, taking up the aesthetic legacy of Flannery O’Connor and embracing the Dostoyevskian themes of crime and punishment, sin and redemption. Where her depth of vision and the explosive power of her fiction recommend themselves to the reader, the violence and other extraordinary happenings converged in her works invite puzzlement and difficulty on the part of the reader. Besides, some critics have faulted her for the abundance of violence in her fiction, however, in Oates’s case, lingering over violent plot is to show that this dark reality becomes a potentially overwhelming convergence of forces—natural, social, psychological—against which her characters pit their human will to endure. Violence thus becomes one of the centers of the criticism on Oates’s literary creation. Oates holds that violence in her fiction is based on the even harder reality and her obligation as a writer is to depict them with authenticity.
Herein evolves the theme of the present dissertation—the exploration of the springhead for Oates’s predominant occupation of violence in writing by investigating the spatiality in her fiction within the framework of Lefebvre and Foucault’s theory on social space.
The introduction of the dissertation, first of all, mainly explicates the background of Joyce Carol Oates’s literary creation, and outlines the plot of her four novels (them, Wonderland, Angle of Light and Foxfire), which are chosen in the study according to the stages of Oates’s writing. After that, Lefebvre and Foucault’s ideas on spatiality are expounded.
Chapter Two mainly investigate the spatiality in them in the perspective of Lefebvre’s space theory. Lefebvre defines social space not merely as the geography of place but as a product of cultural interaction and social intercourse, a sphere of contest in which it is possible to register the convergence of ideological beliefs, socio-cultural habits, and representational practices in constituting what we know more broadly as social relations. This chapter begins with an in-depth spatial reading of the protagonists’disillusion in urban space and concludes terrorism in the alienated everyday life and the uniform, repetitive everydayness as well, brings catastrophe to lower-class citizens, thus it is the springhead of violence in Oates’s fiction. Furthermore, with Marxian critique—things will develop in the opposite direction when they become extreme, violence then is read as a positive force that promotes urban revolution to erupt and thereby it accelerates the social evolvement from the abstract space to the differential space.
Chapter Three focus on the spatiality in these three novels: Wonderland, Angle of Light and Foxfire with Foucault’s methodology on spatialized power and discourse. The relevance of Foucault’s discourse theory centers around two potential functions. First, it provides an expansive spatial framework for describing the broad ideological and political influences impacting the individuals in Oates’s fiction. Second, Foucault’s mode of discourse inquiry provides a systematic analysis of the spatial configuration in Oates’s fiction. The key concept in this chapter is Bentham’s Panopticon adopted by Foucault as a footstone of his space theory. Bentham designed a cylindrical building of four to six stories consisting of a large number of single cells. The cells were arranged circularly or polygonally around a central watchtower with galleries and viewing box. The tower served as the architectural and administrative center, from which the guards could see into every cell without being seen by the prisoners. This was made possible by a clever and extremely practical lighting arrangement. Windows in the sides of the outer cylinder kept the prisoners always in the light, while the guards remained hidden in the dark center. In such system of prison, power becomes microcosmic, and the gaze thus was called by Foucault as“the Eye of Power.”Therefore, the violence and conflict in Oates’s fiction is deeply rooted in the microcosmic modern mechanism of power with Panopticon as its model.
The last part of the dissertation concludes that the spatial reading of Oates’s fiction provide a viable explanation to the springhead for Oates’s predominant occupation of violence in writing.
引文
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