噪音与逃逸线:解读卡夫卡的《地洞》  

Noise and Line of Flight:Interpretation of Kafka’s Burrow

作　　者：殷世钞 Yin Shichao(German Department,School of Foreign Studies,China University of Mining and Technology,Xuzhou,Jiangsu Province,China;Foreign Literature Research Institute,Beijing Foreign Studies University,Beijing,China)

机构地区：[1]中国矿业大学外国语言文化学院德语系,江苏徐州221116 [2]北京外国语大学外国文学所,北京100089

出　　处：《外国文学》2022年第3期144-152,共9页Foreign Literature

摘　　要：本文试图在德勒兹和迦塔利的理论视域下分析卡夫卡小说《地洞》中的空间建造和声音,认为小说演绎了交织的僵硬线、柔顺线和逃逸线。内与外、创造者与被创造物的二元对立被颠覆,噪音作为脱离意涵和源头的音响,促使视觉感知模式转向听觉模式,并隐示节段化的建筑中的缝隙,提供解构和逃逸的可能性。因为书写文化参与塑造了人的视觉主导模式、空间思维、理性和内省的意识,而噪音是对上述情状的颠覆,所以噪音书写可被看作文学书写开始“解辖域化”的标志,呼应着20世纪初各种新听觉媒介的出现。This article attempts to analyze the construction of space and sound in Kafka’s novel The Burrow from the perspective of Deleuze and Guattari’s theory,arguing that the novel renders the interweaving of rigid line,supple line and line of flight.The dichotomy between the inside and the outside of the burrow,the creator and the created,is subverted.Noise,as sound detached from meaning and source,prompts a shift from visual to auditory modes of perception and alludes to gaps in the segmented architecture,offering the possibility of deconstruction and escape.Because the culture of writing is involved in shaping the dominant visual modes of perception,spatial thinking,rationality and the sense of reflection,and noise is a subversion of the above mentioned,so noise writing can be seen as a sign of the “deterritorialization” of literary writing,echoing the emergence of various new auditory media in the early 20th century.

关 键 词：卡夫卡 德勒兹 《地洞》 噪音 逃逸线 

分 类 号：I516[文学—其他各国文学]