「卡佩爾大街的連續景片館」：〈瑙西卡〉挑逗窺淫癖的微型奇觀

＂Mutoscope Pictures in Capel Street＂: The Voyeuristic Micro-spectacle in ＂Nausicaa＂

喬哀思在《尤利西斯》的〈瑙西卡〉篇中所使用的「自由間接文體技巧」（free indirect speech technique）造成了曖昧不明的雙聲現象（double-voicedness）：讀者難以分辨究竟是「誰」正在用「誰的」聲音說話。在「『孤獨藏身暮色中』：〈瑙西卡〉裡布魯姆的電影凝視」這篇論文中，菲利浦．席克透過「連續景片機」這項十九世紀末原型幻燈機的角度解讀此一雙聲現象，並且將互相重疊的雙股敘事解剖成兩層異質但交纏的肌理－－布魯姆先生的電影凝視／被格蒂虛像滲透的布氏偷窺小劇場。借助席克對〈瑙西卡〉的詮釋和克利斯瓊．梅茲關於「電影畫外性」（cinematic off-frameness）的戀物理論，本文認為〈瑙西卡〉的連續景片奇觀在多層次上皆顯現了電影戀物的病徵：在最表層，布魯姆先生的連續景片視域是戀物的，因為它的鏡頭高倍數特寫格蒂的內褲，卻在即將拍攝到她曝露的私處時戛然淡出。在更裡層，美少女格蒂的顧影自憐也是戀物的，因為她透過大量堆砌消費商品（時尚服飾和女性補品）來屏蔽自己的殘疾。在最深層，喬哀思所導演的這齣微型奇觀依然是戀物的，因為他鉅細靡遺地展示了一個商品化的世界，卻小心翼翼地將殖民侵略勢力隔絕在畫面的視域之外。

”Nausicaa” is known for its ambiguous double-voicedness as a consequence of Joyce's application of the free indirect speech technique: it is hard to tell who is speaking in whose voice. In his fascinating study ”'Alone in the Hiding Twilight': Bloom's Cinematic Gaze in 'Nausicaa,'” Philip Sicker scrutinises such double-voicedness from the perspective of turn-of-the-century proto-cinematic device-the mutoscope-and anatomises the overlapping narratives into distinct yet interwoven layers of Bloom's cinematic gaze and Gerty's intrusion into his voyeuristic projection. Based on Sicker's interpretation and Christian Metz's theory on the fetishistic nature of cinematic off-frameness, this paper proposes that the mutoscopic spectacle of ”Nausicaa” suffers from the symptoms of cinematic fetishism on multiple levels: on a surface level, Bloom's mutoscopic vision is fetishistic in that it zooms in on Gerty's undergarments yet suddenly fades out before it almost encounters her revealed private parts; on a deeper level, Gerty's narcissistic look at herself is fetishistic because it screens off her own disabilities and focuses on such commodities as fashion items she wears and patent medicines she takes; on the deepest level, Joyce's direction of this micro-spectacle is arguably fetishistic as well, because he exhibits a commodified world in detail yet deliberately keeps the invading colonial force off-frame.