〆切迫っているから、『ロード・ジム』分析している章から読み始める。面白いことをしていると思う。

20:30追記：Always historicize!は古いから、あまり引きずられないように注意しよう。

政治的無意識―社会的象徴行為としての物語

• 作者: フレドリックジェイムソン,Fredric Jameson,大橋洋一,木村茂雄,太田耕人
• 出版社/メーカー: 平凡社
• 発売日: 1989/08
• メディア: 単行本
• クリック: 2回
• この商品を含むブログ (18件) を見る

『ロード・ジム』における断絶

この誕生を最も劇的に記録している瞬間は、これまでほとんどの読者が『ロード・ジム』の物語の明らかな「断絶」と感じている部分、((F. R. Leavisによると>>

「小説前半部分のロード・ジムの描出、つまり真相追求やパトナ号法規の物語り、フランス軍中尉との会話 — これらはすぐれたこんらっどである。だがこれにつづくロマンスは、おそらくジムの問題をさらに開示するために書かれたものなのだろうが、前半部ほどの必然性は持っていない。またこのロマンスは、中心的な関心を発展させたり豊かにすると言うこともないので、小説らしい中身をあたえるべく補足されたものが、結果的には決定的に希薄なものに感じられてしまう」

<<))つまり、「パトナ号」にまつわる物語り、乗船員の職場放棄というスキャンダルの「真相」を求める錯綜した原テクスト的な研究が、その後、パトゥサンでのジムの経歴を物語る、より直接的な物語りに移ってゆくときに感じられる質的な変化、ないしは物語の緊張度の低下という現象であろう。

『ロード・ジム』における制度的な異種混質性

この物語は、ほとんどロマンスのパラダイムそのものといってもよく、私たちはここに、大衆文化がやがて分化してゆく様々な「堕落した」下位ジャンル（冒険物語、ゴシック小説、SF、ベストセラー、推理小説等々）の一つの原型を見いだすこともできるのである。だが、この制度的な異種混質性 — 二つの物語りパラダイム間の移行、あるいは二つのタイプの語りないし物語組織法の間の不均衡のみならず、二つの別個の文化的空間、「高級」文化と大衆文化との間の移動 — だけが、『ロード・ジム』に兆候的に露呈されている亀裂あるいは不連続性のすべてなのではない。事実後に試みるように、私たちはこの作品の文体上の実践を、それ自身実質的な自立性を持つ「審級」として切り離し、それがこの本の他の様々な物語の審級あるいはレベルと、いかに緊張もしくは矛盾の関係を結ぶかということを示すこともできる — 同時に私たちは抑圧された空間として、労働や歴史、また原政治的な葛藤の世界を強調することにもなるが、これはいまの私たちの観点から見るなら、より古いリアリズムの内容が、モダニズムの言説の誕生により追放され、効果的に週変化された後に残された、痕跡ないし残滓のごときものとみなすことができるだろう。

以上のような別個の文化的「空間」が、コンラッドに置いては未だに完全な文化を見ることなく共存しているという事情のために、その作品が狭い意味での文学形式のみ成らず、より広く文化一般の形式に歴史的分析を加えるための格好の場となるのである。また同時に、彼の作品は、本書の構成の中心となってきた探求形式、すなわち「メタコメンタリー」ないしは対立する解釈法の歴史的・弁証法的再評価という作業を実践するに当たっても、これに勝るとも劣らない好機をあたえてくれる。というのも、コンラッドの場合、その物語に客観的に存在する数々の不連続性のために、ほかの現代作家に滅多に見られないくらい、めまぐるしいばかりに多様カツ通訳不可能な、互いに競合し合う解釈法が生み出されてきているからである。

コンラッドの批評

1. 大衆作家 vs 芸術家
   1. コンラッドを冒険談、海洋物語、ないし「大衆的」物語の作家として読む読み方
   2. コンラッドを、私たちが後に、その名にふさわしい「印象主義的な」文体への意志と呼ぶ、芸術的意志の実践家と見る文体分析の立場

Quote!

We must, indeed, carefully stress, as does Conrad in these preparatory pages, Jim’s \textit{bovarysme}, the relationship between his work and the “course of light holiday literature” that first suggested it to him[.]~(212)

しかし、まさしくこの点に関わって、私たちはある大きな歴史的変遷を認めることができるのである。それは一つには、外界の命名というリアリズムの素朴な叙述法から、イメージの提示へ、すなわち、モダニズムないし印象主義への推移であるが、この動きはそれ自体、イメージと感覚のイデオロギー、また、精神機能および感覚機能に関する、実証主義的・議事科学的神話のすべてをその拠り所としている。また同時に、イメージによる思考の表現をより完全なものとするため、物語の原材料を、事前に取捨選択するという傾向が生まれてくる。つまり、概念的なものは退けられて、自然主義における精神的また物語的な二大テクストたる、白昼夢と幻覚という現象が優先されることになる。

海について

Thus the non-place of the sea is also the space of the degraded language of romance and day-dream, of narrative commodity and the sheer distraction of “light literature.” This is, however, only half the story, one pole of an ambiguity to whose objective tension we must now do justice. For the sea is the empty space between the concrete places of work and life; but it is also, just as surely, itself a place of work and the very element by which an imperial capitalism draws its scattered beachheads and outposts together, through which it slowly realizes its sometimes violent, sometimes silent and corrosive, penetration of the outlying precapitalist zones of the globe. Nor is the sea merely a place of business; it is also a place of labor, and clearly we will say nothing of consequence about the author of \textit{The Nigger of the “Narcissus,” Typhoon}, and \textit{The End of the Tether} if we overlook the “realistic” presentation of working life at sea, of which all these narratives give a characteristic glimpse.~(213)

interpretation of Lord Jim

But if you believe this version of the text, this particular rewriting strategy by which Conrad means to seal off the textual process, then all the rest follows, and \textit{Lord Jim} really beoomes what it keeps telling us it is,namely a tale of courage and cowardice, a moral story, and an object-lesson in the difficulties of constructing an existential hero. I will argue that this ostensible or manifest “theme” of the novel is no more to be taken at face value than is the dreamer’s immediate waking sense of what the dream was about.~(216-7)

『ロード・ジム』における海

[F]or the moment one reflection may be in order about the paradoxical relationship between labor and that non-space, those places of strategic narrative containment (such as the sea) which are so essential in what the Franfurt School called the “degradation” of mass culture (that is, the transformation of formerly realistic materials into repetitive diversions which offer no particular danger or resistance to the dominant system). The paradox lies in the relationship between the peculiarly unpleasant narrative raw materials of the sea — not only that of sheer physical exertion and exposure to the elements, but also that of isolation, sexual privation, and the like — and the daydreaming fantasies of the mass public, for whom such “diversions” are destined. Such paradoxes are not new in aesthetic theory (think, for instance, of the classic problem of the aesthetic pleasurability of tragedy, that is, of the starkest contemplation of death and of what crushes human life), but in consumer culture they take on a heightened significance.~(217)

『ロード・ジム』におけるジャンルの不連続性

Analogous problems arise, therefore, wherever we choose to articulate the generic discontinuities in the text of \textit{Lord Jim}: whether we understand its stylistic modernism as the repression of a more totalizing realism both expressed and recontained or managed within the narrative as a whole; or, on the contrary, register the emergence of something like the nascent mass-cultural discourse of a degraded romance from that quite different high-cultural or textual discourse of the \textit{Patna} episode.~(218)

Joseph Conradの曖昧な立場

Now it may also be clearer why Conrad’s historical place in this development is an unsettled one: to revive the old-fashioned presence of authorial intervention, even \textit{within} the text, as nostalgic representation rather than Victorian mannerism is to propose an situation of merchant service and the profession of the sea. Meanwhile, Conrad’s elaborate narrative hermeneutic — what really did happen? who knows it all? what impressions do people have who possess only this piece of the puzzle, or that one? — tends to reinforce and supply powerful narrative demonstrations of just that ideology of the relativity of the individual monads evoked above (indeed, when, as in \textit{Chance}, Conrad tries for a “mainstream” subject, the result is a mediocre imitation of James, just as Conrad’s women tend to reproduce everything that is unsatisfactory about James’s “female eunuchs” without any of the more splendid intensities of the latter’s narrative discourse).~(222)

If multiple narrative shifts in Conrad are to be seen as textbook exercise in point of view, then we must add something which changes everything: they are point of view conceived as being inseparable from speech, from the materiality of language. In this historical and dialectical reversal, Conrad’s yarn-spinning becomes the epitome of a thinking which has discovered the symbolic[.]~(224)

I will argue, on the one hand, that both positivism as ideological production and impressionism as aesthetic production are first to be understood in terms of the concrete situation to which they are both responses: that of rationalization and reification in late nineteenth-century capitalism. On the other hand, I want to show that Conrad may best be situated historically if we understand his practice of style as a literary and textual equivalent of the impressionist strategy in painting (hence his kinship with the greatest of all literary impressionists Proust). But these assertions will be useful only to the degree to which we understand that the impressionistic strategy, although the dominant one for classical modernism, is only one of those structurally available to the modernists (the much rarer expressionism is another); to understand stylistic production this way is to free ourselves from the monotony of the formal history projected by the ideology of modernism itself (each new style is a break with the past, the history of styles is simply the sum total of all of these radical changes and innovations), and to substitute for it the possibility of reading a given style as a projected solution, on the aesthetic or imaginary level, to a genuinely contradictory situation in the concrete world of everyday social life.~(225)

ここつかえそうかも！！！

To read Conrad’s “will to style” as a socially symbolic act involves the practice of \textit{mediation}, an operation that we have already characterized (in Chapter 1) as the invention of an analytic terminology or code which can be applied equally to two or more structually distinct objects or sectors of being. As we there argued, it is not necessary that these analysis be homologous, that is, that each of the objects in question be seen as doing the same thing, having the same structure or emitting the same message. What is crucial is that, by being able to use the same language about each of these quite distinct objects or levels of an object, we can restore, at least methodologically, the lost unity of social life, and demonstrate that widely distant elements of the social totality are ultimately part of the same global historical process.~(225-6)

The preface to the \textit{Nigger of the “Narcissus,” however, (“My task, which I am trying to achieve is, by the power of the written word to make you hear, to make you feel — it is, before all, to make you \textit{see}. That — and no more, and it is everything”), is not a defense of the dramatic, nor even of Jamesian “rendering”; it is the declaration of independence of the image as such.

Steinの役割

the meaning of the character of Stein, inserted strategically, as one of Jim’s series of father figures, between the great bravura unfolding of the \textit{Patna} story and the later romance adventure in Patusan, where Stein has influence and interests, and where he is able to install the stigmatized Jim, thereby giving him a final chance with destiny.~(237)

The story of Stein, indeed, is the story of the passing of the heroic age of capitalist expansion; it marks the end of the era when individual entrepreneurs were giants, and the setting in place of the worldwide institutions of capitalism in its monopoly stage.~(237-8)

quote

Raymond WilliamsのThe English Novelsからの引用らしい:

“Jim has been taught a code, a set of laws about sailing, and these are not only technical but in their essence moral — definitions of responsibility and of duty which are at once specific practical rules and general social laws. He is part of a hierarchy — the officers of the ship — in which those laws are manifest or are supposed to be manifest. His moral conflict is not the product of isolation, of the lack of a society and of shared beliefs. It is that earlier kind of conflict, historically earlier, in which a man’s strength is tested under pressure; in which, that is to say, what is really being looked at is \textit{conduct}, within an agreed scheme of values. The ship in Conrad has this special quality, which was no longer ordinarily available to most novelists. It is a knowable community of a transparent kind”