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论文名称: 书写当游戏：讨论卡尔维诺的《看不见的城市》
论文名称: Writing as Play in Calvino's Invisible Cities
关键词:
卡尔维诺 Italo Calvino
看不见的城市 Invisible Cities
书写 writing
游戏 play
排列组合 combinative aesthetics
观点 seeing
再现 representation
[摘要]
本文旨在讨论卡尔维诺的《看不见的城市》一书中，作者（卡尔维诺及马可波罗）如何于
书写中与他们的读者游戏。文中由三方面着手：文学的排组游戏、观看的角度、及语言的
「切确度」，讨论作者如何让其文本呈现多变及不确定。
第一章讨论卡尔维诺所提出的「文学的排列组合游戏」，为后现代情境常面临的耗竭问题
提供一线生机。利用不断的排列组合规则，作者可将有限的题材重新整理运用、推陈出新
，大玩旧瓶装新酒的游戏，并推翻读者希冀独特且原创的作品的迷思。
第二章讨论作者如何于文本中，对自己所采取的观点角度提出质疑、而后推翻其先前的叙
述。继而讨论读者的视听，因为受限于作者所呈现的固定观点、视界，使得接收、阅读到
的讯息产生各异其趣的变化，进而使文本意义多变且不确定。
第三章讨论卡尔维诺致力追求但深知不可为的语言「切确度」问题。语言是作者与读者之
间赖以沟通的媒介，但因语言在传达讯息过程并非想象中般明确、详实，而往往是传送出
与接收到的讯息间呈现诸多落差、不确定的状况，所以作者与读者在借用语言此一工具时
，必须切记语言是不可靠的媒介。以此为前提，虽使得写作与阅读变得很不确定，但因不
定，所以有无限的可能与空间，可供作者嬉戏、游移于诡谲多变的文字间隙中，并利用其
不确定性戏耍读者的认知。
[摘要]
This thesis discusses how the "writers" (Calvino and Marco) play with their
readers by making writing something playful and ultimately indeterminate. I
look at this from three perspectives: first, from the perspective of Calvino’
s literary theory, "combinative aesthetics;" second, from that of the poetics
of seeing; then, from the standpoint of Calvino’s strategies of "exactitude."
Chapter One talks about Calvino’s combinative aesthetics in the face of the
almost exhausted possibilities of writing something "original" in this
postmodern era. By means of his combinatorial play, a finite number of
objects (or elements) can generate an indefinitely large (if not next to
infinite) diversity of possibilities.
Chapter Two focuses on the writer's poetics of seeing. Though aiming to make
the reader see what he has seen, the writer's seeing is, nevertheless,
unavoidably distorted and influenced by some subjective and objective
variables. Through the writer's consciousness of limitless viewpoints in
seeing and problematization of his partial angles in observing, the reader
encounters an unstable and unreliable narrative.
Chapter Three discusses the problems confronted when using language as the
medium between the writer and reader, according to Calvino's three strategies
of "exactitude" through language. Images, signs, and emblems, as they are
encoded by language, are too elusive and slippery to transmit definite
meanings to the reader. The reader cannot assume that everything the writer
says and presents is true, since the writer himself problematizes what he has
already written.
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