《達尼爾．阿謝的旅程》──關於圖像、文字與記憶

About Images, Words and Memory in The Travels of Daniel Ascher

黛博哈．雷米-貝特哈的小說《達尼爾．阿謝的旅程》於2013年出版，故事背景回溯到二戰前後並延伸至21世紀初。文中作者安排了許多圖像，包含中世紀教堂壁畫、生活照、肖像畫甚至是透由話語描述而建構的心靈畫面。回顧攝影術的發明曾震懾了它的當代人，不但一下子把繪畫的地位貶低了，也搏取了靈光。攝影於20世紀逐漸走入大眾並記錄其生活，而繪畫則越來越抽象。另一方面，照片從一開始為小眾享用，被珍視、裝幀、細看，逐漸發展到現今幾乎是無所不在，不論是網路媒體傳播漫溢或是人們隨手主動打卡的留影，觀看的方式是否隨時代而轉變？透由小說行文敘述及安排的各類形圖像，作者似乎有意藉此重新審視當代觀者觀看由不同媒材承載的圖像的方式及其引發的感受。本文將對各類圖像與文本人物的交互作用進行分析。

Déborah Lévy-Bertherat’s novel The Travels of Daniel Ascher was published in 2013, the story unfolds from the years of the World War II to the beginning of the 21st century. In telling the story, the author inserted a lot of pictures into her narration, including a medieval mosaic, old photos, an oil portrait, and even mental images prompted by the characters’words. In the past, the invention of photography shocked the world; therefore, the value of painting was lowered, and photography was shrouded in an aura. During the 20th century, photography approached people and witnessed their lives, as for painting, it moved towards an increasingly abstract path... However, the picture was cherished and framed by admirers who scrutinized the smallest details, and now it loses its uniqueness, not only because of the reproduction but also the speed of diffusion on the Internet, and also the popularity of selfies. Through the different kinds of images, it seems to us that the author would like to re-examine how people nowadays look at these images. Will the different media cause different sensations? We are going to analyze the interactions between the images and the gaze of the characters.