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本文探讨奥尔罕·帕慕克2009年新作《清白博物馆》中呈现的城市现代景观,尤其是其中表现的可见性与不可见性的关系。现代大都市的博物馆通常是人们回顾历史、抒发往日情怀的场所。帕慕克的博物馆,无论是现实中的博物馆,还是作为博物馆的小说本身,同样体现了这个目的,尽管两者的组织形式不同:真实博物馆的建立服务于小说的创作,而小说却是博物馆收藏的直接产物。从本雅明关于收藏和城市再现的观点出发,我们可以看到这种写作方式呈现出城市文本“多孔性”的特征,城市景观被掩埋在爱情故事的背后,而故事的字里行间渗透着城市的细节呈现。但在小说中的物品收藏与城市街道上发生的故事之间、在本雅明所说的“当下历史”与帕慕克从墙上挂钟所追溯的事实之间、在普鲁斯的自觉和不自觉记忆的思考与帕慕克笔下主人公的记忆和行为之间看到种种逻辑联系。
This article explores the modern urban landscape presented by Orhan Pamuk’s 2009 innocence museum, especially the relationship between visibility and invisibility. Modern metropolitan museums are often the places where people recall history and express their feelings for the past. Pamuk’s museum, whether in the real museum or as a museum novel itself, also reflects this purpose, though the two are organized in different ways: the establishment of a real museum serves the creation of a novel, and the novel is a collection of museums The direct product. From Benjamin’s point of view on collection and urban reproduction, we can see that this way of writing presents the characteristic of urban text “Porousness ”, the urban landscape is buried behind the love story, and the words of the story permeate the city The details are presented. But between the collection of objects in the novel and the stories on the streets of the city, between the “current history” Benjamin called and the fact that Pamuk traces back from the wall clock, And the unconscious thinking of memory and the memory and behavior of Pamuk’s protagonists see all kinds of logic.