「在我之前是誰打這兒經過？」：〈游岩〉中穩固性與流動性的辯證

“Who has passed here before me?”: Dialectic of Fixity and Fluidity in “Wandering Rocks”

評論家將〈游岩〉第一小節意義固著的文體風格定義為「康米風」(the Conmee style（Williams），此真理至上式的風格與本章所描繪的宗教／政治霸權相輔相成。然而，同樣在本章處處出現的不相連貫的穿插片段、強要使用的不定冠詞、公式化的角色標籤，以及形式上互為呼應對照的文字風格，皆形成一股離心力，截然不同於第一小節康米風格所企圖貫徹的意義向心穩固性，成為文本的「游岩」，阻礙情節合乎邏輯的發展及擬真的重的力。然而，〈游岩〉蓄意使單一向心的觀點四散在全章十九個小節或成為更多、更局部、更斷裂的穿插片段的同時，這樣的敘事方式亦重新銘刻了支撐現代國族主義「領域的神聖不可侵犯」之「絕對必要的領域、空間原則」（Duffy 55, 56）。也就是說，另一種可疑的整體論及紀念碑化作用，反而企圖修復受離心作用受損的的文本。喬伊斯在〈游岩〉裡所剖析的這種文本自我分裂的衝力， 實有如愛爾蘭在宗教與政治的意識形態上固有的分歧。

The first section of the episode 'Wandering Rocks' features a meaning-cohesive style, laying the ground for the logocentric drive in consolidating the religious hegemony in this episode. However, the omnipresent discontinuous intrusive passages, the persistent indefinite article, the formulaic labeling of the characters, and the intra-textually echoing style all constitute a centrifugal force in contradistinction to the centripetal meaning-fixing stability. These features form the textual 'wandering rocks', impeding the logical flow and mimetic impulse of the plot. Yet, such a discontinuous narrative method meanwhile reinscribes a 'territorial, spatial imperative' which bears out modern nationalism's 'inviolability of territory' (Duffy 56, 55). That is, suspicious holism and monumentalization inadvertently seek to be restored in the midst of the overt decentralized textual flow. Such self-divided textual impetuses are symptomatic of the inherently divergent directions toward which the religious and political ideologies in Ireland headed.