無藥可救或世界末日－戈亞與《希望》中的絕望美學

Despair or the End of the World Goya and the Aesthetics of Despair in L'Espoir

10.7065/MRPC.200905.0019

葛尹風(Ivan Gros)

戈亞 ； 戰爭想像 ； 隱喻遊戲 ； 世界末日的美學 ； 絕望英雄主義 ； 革命藝術 ； Goya ； Imagination of War ； Game of Metaphors ； Aesthetics of the End of the World ； Heroism of Despair ； Revolutionary Arts

哲學與文化

36卷5期（2009 / 05 / 01）

19 - 41

簡體中文

根據某些批評的說法，馬勒侯是一位對當代議題表態的作家，西班牙畫家戈亞的作品吸引他的注意，並且影響他的文學創作；本論文旨在剖析他們之間既緊密又複雜的關係。當然，馬氏受到這位西班牙畫家的影響，他們之間共有的經驗是發生在西班牙的戰爭，但馬氏必須擺脫戈亞世界末日的觀點，以建立他自己的美學。一般人往往將戈亞的作品誤判為當代亂象的見證，而忽略其中佔有很大成份的想像。在《土星。命運、藝術和戈亞》(Saturne. Le destin, l'art et Goya)一書中，馬氏企圖重建「戈亞天才」之本質的真相。我們可以假設馬氏的作法是攸關個人利益的，因為他否認戈亞作品中的優點，而視為己有。他的《希望》(L'Espoir)是一部「真正」見證戰爭真相的小說。他必須建構一求諸於未來的希望美學，去消減戈亞作品中的絕望美學，並且終止在《希望》中占有相當份量，屬於隱喻遊戲的毀滅性諷刺。

According to some critics, André Malraux was a writer addressing contemporary agenda, while Goya, the Spanish painter, caught his attention and made impact on his literary creation; the topic of this article is to analyze the close and complicated relationship between them. Certainly, Malraux was deeply influenced by this Spanish painter as they both experienced the Spanish War, but Malraux had to lose Goya's ideas about the end of the world so as to construct his own aesthetics. Most people often mistakenly see Goya's works as testaments to the chaos of the contemporary world while ignoring the substantial part of imagination in his paintings. In Saturne. Le destin, l'art et Goya, Malraux attempted to restore the truth about the nature of ”Goya as a genius.” We can assume that Malraux's approach was informed by his personal interests, since he denied all the merits of Goya's works and claimed them as his won. His novel, L'Espoir, is a real testament of the reality of wars. He had to establish an ”aesthetics of hope” that appeals to the future so as to eliminate the aesthetics of despair in Goya's works and terminate the destructive irony that was part of the game of metaphors and quite substantial in L'Espoir.