傷勢／傷逝：《2046》中的時空重返

10.30095/SYJH.200612.0009

蔡秀枝

王家衛 ； 2046 ； 敘事學 ； 聚焦 ； 記憶 ； 重複 ； 米姬•巴爾 ； 德勒茲 ； 列斐弗爾 ； Wong Kar-Wai ； 2046 ； narratology ； focalization ； memory ； repetition ； Mieke Bal ； Gilles Deleuze ； Henri Lefebvre

中山人文學報

23期（2006 / 12 / 01）

157 - 188

繁體中文

This paper addresses the question of the narrative function played by the tangled repetitive fragments of various love affairs and memories of Chow Mo-Wan (Leung Chiu-Wai) in Wong Kar-Wai's mavie 2046 in terms of the narratological analysis, Mieke Bal's narrative focalization, Deleuze's concept of memory and repetition, and Henri Lefebvre's discourse on the function of space production and reproduction on the stage of the lived representational space. The fragmentary love affairs, represented as incessant re-visions of a long lost love affair, play an important narrative function, which not only increases the protagonist Chow's memory sediments and sentimentality but also conflates the cultural significance and aesthetic depth that the movie's special and complicated visual aesthetics would have aimed to bring forth-to seemingly make everything stuck to the promise of a world that never changes. The dexterously recorded and transcribed fragments of love successfully create a de-contextualized arena to entrap their characters and allow the movie viewers/readers to re-inscribe different kinds of wound/mourning on the fragmented love stories and the im/possible love objects.

This paper addresses the question of the narrative function played by the tangled repetitive fragments of various love affairs and memories of Chow Mo-Wan (Leung Chiu-Wai) in Wong Kar-Wai's mavie 2046 in terms of the narratological analysis, Mieke Bal's narrative focalization, Deleuze's concept of memory and repetition, and Henri Lefebvre's discourse on the function of space production and reproduction on the stage of the lived representational space. The fragmentary love affairs, represented as incessant re-visions of a long lost love affair, play an important narrative function, which not only increases the protagonist Chow's memory sediments and sentimentality but also conflates the cultural significance and aesthetic depth that the movie's special and complicated visual aesthetics would have aimed to bring forth-to seemingly make everything stuck to the promise of a world that never changes. The dexterously recorded and transcribed fragments of love successfully create a de-contextualized arena to entrap their characters and allow the movie viewers/readers to re-inscribe different kinds of wound/mourning on the fragmented love stories and the im/possible love objects.

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