现象身体与文本身体:《弗兰德公路》的身体现象学解读

The Flanders Road:An Interpretation of the Body Phenomenology

与阿兰·罗伯-格里耶的"物本主义"新小说相比,经历战争创伤的克洛德·西蒙在文本中呈现的物更明显地具有了一种立体主义画派"浅浮雕"般的审美动感。本文主要考察了西蒙的代表作之一——《弗兰德公路》中的三种具有现象学意味的身体意象:碎片身体、变形身体和死亡身体,这些具有居间性、混沌性的现象学身体对小说有着建构和表征意义的双重功能,同时也是呈现文本多重维度感知空间的重要基质。新的艺术呈现需要新的感知方式,从阅读意义层面来看,西蒙式的小说正是通过从眼到身、从视觉到联觉的跨越,从而将书写者与读者的血肉之驱更紧密地勾连了起来。

Compared with Alan Robbe-.Crillet＇s Chosisme new novel, Claude Simon, who has suffered from war wounds, more clearly shows the esthetic sensation of a cubist bas-relief in his text . This article focuses on three phenomenologieal body images in The Flanders Road： Fragmented Body, Deformed Body, and Dying Body. This kind of body that is endowed with immediacy and chaos has a dual function of meaning and construction, and also can be seen as an important matrix for presenting the multi-dimensional perception space of the text. The new art presentation calls for new ways of perception. From the perspective of reading significance, it can be concluded that Simon-style novel just achieves a leap from eye to body, or from vision to synaesthesia, thereby connecting the body of the writer with that of the reader more closely.