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文獻學與文化研究是金學研究的大宗，二者關注的共同點是《金瓶梅》「寫了什麼」；本論文則結合評點及敘事學，整合《金瓶梅》的敘事原則，分析特定敘事筆法反覆出現的用意，有系統地探究《金瓶梅》的敘事特徵及藝術成就，亦即藉著分析敘事者「如何講述故事」，建立起藝術筆法與小說內容之間的關係。 援引敘事理論探討傳統小說，一部份的目的在於更精確地描述小說的特色，而非還原作者的意圖，或尋求完整的詮釋體系。因此，雖然西方敘事理論已發展成一套便於操作的分析方法，但本論文並不完全依循敘事理論解析《金瓶梅》，僅參酌敘事理論能與傳統評點相互呼應之處，論述用語仍以評點為主，取其切合中國文化與詮釋傳統的優點，可避免論述文字歐化之病；也保留評點特意關注，但敘事理論並未探究者。本論文章節架構則大體依照敘事理論建立，不只為了條理分明地說明評點的內涵，也注重敘事理論已經觸及，但評點論述不足的敘事特徵，藉此開拓《金瓶梅》的詮釋面向。 本論文從結構、時空、視角三個層面，析論《金瓶梅》的敘事技巧，並參酌熱奈特（Gérard Genette）的敘事理論。論文第二章便借用他對故事時間及敘事時間的區分，對敘事「延伸」（narrative scattering）的分析，以及科比利（Paul Cobley）對敘事中「期待」及「回憶」的探討，來闡釋《金瓶梅》組織段落的次序所蘊含的意義，並說明書中如何聯繫不連續的片段。本章亦探討評點中「綴合」的觀念，分析《金瓶梅》如何連接相鄰的片段。第三章援引羅蘭‧巴特（Roland Barthes）「現實效應」（reality effects）的概念，分析《金瓶梅》中的「細節」及評點者的閱讀樂趣，並重新思考蒲安迪（Andrew H. Plaks）「形象迭用」的意涵。第四章則運用敘事理論中的「視角」（point of view）及「敘事情境」（narrative situatiion），重新詮釋說書人及說書情境對傳統小說的影響，並藉助「凝視」（gaze）及「偷窺」（voyeurism）理論，探討《金瓶梅》中擅以偷窺寫人物「破綻」的特徵。 透過本論文的分析可知，作者重新組織包羅萬象的現實生活，使敘事時間及故事時間之間產生對比，不但具有相互映照或延宕懸念的效果，也能涵容同一敘事時間內的諸多敘事線索。各種串接不同片段的敘事筆法，則使人物及事件間產生緊密的聯繫，形成各個事件之間互為因果，錯綜影響的關係。「說書」的情境能聯繫虛構的小說世界與真實的人生，構成小說人物種種所為被公諸於世的語境，滿足聽眾／讀者一窺究竟的好奇心與偷窺欲；以小說人物的偷窺作為敘事視角時，則能突顯敘事視角隱含的意識型態，也使讀者及評點者都成為偷窺者，獲得不同的閱讀樂趣。上述特徵與《金瓶梅》隨處可見的「擬真」描寫，以及「白描」、「沒要緊處」餘韻無窮的筆墨，共同構成《金瓶梅》逼真的時空環境與特殊的講述角度，使讀者藉著虛擬的經驗，在極短的閱讀時間之內，見證西門家的興亡盛衰，感同身受地理解「盛極而衰」及「一切皆空」的哲理。

Foundational to almost any Hitchcock film is the idea of the voyeur: the (un)natural inclination to want to look upon the private, obscene, and potentially grizzly instances in other peoples’ lives. Such inclinations are typically satiated in secret and subsequently denied as something we desire. The voyeuristic act may be connected to narcissism in that we are seduced by our own fears and inner hells projected onto the watched ‘other.’ This kind of projection not only perpetuates our sense of denial of what are our own inclinations, but it also precipitates the potential for de-humanization and feelings of emptiness in that we detach from ourselves. The phenomenological paradox to such detachment is that the more we insist we are safe and self-enclosed here while the ‘other’ remains at bay there, the more we are convinced that we know ourselves and are connected to ourselves, when arguably, we couldn’t be more detached from ourselves and our humanity. And by not really knowing ourselves as well as we thought – as we might infer from a kind of ‘doppelganger’ or ‘doubles’ reading of Strangers on a Train, for example – is how fear is born, both in a Hitchcock film and in life generally. How then, might we come to truly know or face our fear if estrangement would seem an inherent quality to our very experience of it?

Foundational to almost any Hitchcock film is the idea of the voyeur: the (un)natural inclination to want to look upon the private, obscene, and potentially grizzly instances in other peoples’ lives. Such inclinations are typically satiated in secret and subsequently denied as something we desire. The voyeuristic act may be connected to narcissism in that we are seduced by our own fears and inner hells projected onto the watched ‘other.’ This kind of projection not only perpetuates our sense of denial of what are our own inclinations, but it also precipitates the potential for de-humanization and feelings of emptiness in that we detach from ourselves. The phenomenological paradox to such detachment is that the more we insist we are safe and self-enclosed here while the ‘other’ remains at bay there, the more we are convinced that we know ourselves and are connected to ourselves, when arguably, we couldn’t be more detached from ourselves and our humanity. And by not really knowing ourselves as well as we thought – as we might infer from a kind of ‘doppelganger’ or ‘doubles’ reading of Strangers on a Train, for example – is how fear is born, both in a Hitchcock film and in life generally. How then, might we come to truly know or face our fear if estrangement would seem an inherent quality to our very experience of it?

Approche esthétique de l’œuvre cinématographique de Brian De Palma. La problématique s’articule entre esthétique du montage et violence de l’image. En premier lieu, le texte interroge le mode de découpage privilégié par Brian De Palma en soulignant l'importance du plan-séquence et du split screen. L'usage du plan-séquence est, notamment, rapporté à la question du défaut de vision, phénomène considéré comme central. Un second moment de cette thèse est consacré à l'étude des personnages. Des personnages anti-héros, marginaux. L'accent est particulièrement mis sur le corps féminin. Regard et voyeurisme revient à la question du découpage privilégié par Brian De Palma. Comment Brian De Palma utilise-t-il le regard pour accéder à la violence ? Qu’est-ce que regarder chez Brian De Palma ? Comment les éléments voyeuristes depalmiens se construisent-ils à partir du langage cinématographique ? Le cinéma de Brian De Palma s’annonce aussi savant et complexe, entre classicisme et modernisme. Comment Brian De Palma travaille-t-il l’œuvre hitchcockienne pour offrir une conception nouvelle ? Comment violenter l’image pour extraire son invisible ? / An esthetically pleasing approach to Brian De Palma's cinematographic work. The issue revolves around editing aesthetics and image violence. First, the text questions the cutting mode favored by Brian De Palme, stressing the importance of sequence-shot and split screen. The use of sequence-shot is in particular brought by the issue of lack of vision, a phenomenon considered as central. A second point of this thesis is devoted to the study of the characters. Anti-hero characters, drop outs. Emphasis is particularly placed on the female body. And voyeuristic gaze returns to the issue of cutting by Brian De Palma. How does Brian De Palma use eyes to see violence ? What is the meaning of « looking » to Brian De Palm a? How are De Palma's voyeuristic elements constructed from film language ? Brian De Palma's film also promises to be clever and complex, between classicism and modernism. How does Brian De Palma use Hitchcock's work in order to offer a new design? How assaulting the image to get its unseen part ?

My study explores the politics of viewing and the gaze. I argue that the gaze both arrests and objectifies the body, which in turn transforms subjects into objects therefore regulating social behaviour. The basic notion of the gaze will be explored throughout this thesis and thereby contextualizes my sculptures, which are casts of my naked body. My particular concern lies in how the ideas of surveillance have had an influence on architecture and buildings in Grahamstown. Throughout this mini thesis, I will explore a number of architectural spaces of Grahamstown such as the Provost prison, Fort Selwyn and the Camera Obscura which I argue were all designed based on the ideas of surveillance. The entanglement of Grahamstown architecture and the female form as a subject of voyeurism forms an important part of this thesis, as the context of Grahamstown architecture is centered on visibility, which in turn subjects people to a form of discipline. The Provost Prison, the Camera Obscura and the forts of Grahamstown are all good examples of this. Outside of this, the female body is also subjected to the gaze, which in turn suggests that the female body is also under surveillance and as a result also becomes disciplined. My installation is a response to Antony Gormley’s Event Horizon, in which he placed 33 steel and fibreglass casts of his own naked body at an elevated level on buildings around Manhattan and Brazil. In this discussion I have contextualized my work with reference to the ideas of different theorists. The three main theorists I have cited are Michel Foucault, Jonathan Crary and Laura Mulvey. Foucault is specifically cited due to his discussion on Panoptic power, surveillance and docile bodies. Crary makes a number of important points with regards to the ideological operations of the Camera Obscura as well as its history while Laura Mulvey’s writings form the basis of the voyeuristic gaze from the perspective of a feminist.

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Les romans libertins à figures se développent de façon remarquable au XVIIIe siècle. Selon les frères Goncourt, c’est « le siècle de la vignette ». L’avènement de cette mode de livres illustrés a modifié aussi bien les sensibilités esthétiques et les conditions matérielles de la lecture d’un récit de rouerie, que notre conception de la littérature libertine comme système de représentation, non plus exclusivement textuel, ou discursif, mais engageant un dialogue avec l’image. Il s’agit d’étudier ce dédoublement de la représentation, à travers les dispositifs qu’il met en œuvre, et en mobilisant ceux-ci comme une nouvelle méthode d’analyse du texte et de l’image dans les récits de rouerie libertine.On pourrait croire que les récits de rouerie libertine sont les plus éloignés de l’image, étant donné que la machination et la ruse nécessitent d’agir sous-main. Or notre analyse de la logique de l’image qui gouverne les dispositifs de la représentation dans le roman libertin des Lumières infirme cette hypothèse. Dans cette perspective, nous tenterons de compléter les études existantes sur la scène érotique ou intime, le regard et la théâtralité de la fiction classique, avec l’idée que, dans les récits de rouerie, la représentation de la machination libertine oscille entre deux stratégies : celle qui donne à voir et celle qui dérobe. / The libertine novels ornated with figures grew dramatically in the eighteenth century. According to Goncourt brothers it is “the century of the vignette”. The development of this genre of illustrated books changed, both aesthetic sensibility of the reader and the material conditions of reading a trick story, for our conception of libertine literature as a system of representation is no more exclusively textual nor discursive but triggers a dialogue with the image. The study of this duplication of representation is at stake, using the text-and-image devices it operates, as a new method to analyse their interconnection in the libertine trick stories. One could imagine such narratives are the most distant from the image, since the machination and trickery need to act covertly, whereas the logic of the image appears to be at the very heart of the operative devices of representation which govern the eighteenth century libertine novel. Following that scientific approach, we’ll try to complete the existing studies on poetics of the erotic or intimate scene, and how gazing and theatricality interact within classical fiction, with the hypothesis that, in the trick stories, the representation of the libertine plot faces two strategies: the one that lures with showing something and the other with concealing.

L’état de surveillance dans lequel est plongée la société contemporaine contraint à ériger des dispositifs spécifiques de sécurité. Les méthodes de surveillance utilisées relèvent principalement de l’observation et de l’écoute. De ce fait, le septième art, jouant sur « l’audio – visuel », se serait réapproprié certains de ces dispositifs comme celui de la caméra de surveillance.Ce travail de recherche s’inscrit dans le courant des Visual Culture Studies, etcherche à faire l’archéologie puis l’analyse d’un regard particulier, tel que le cinéma de fiction l’actualise très souvent depuis plusieurs années, celui des caméras de surveillance. Ainsi, la prolifération de ces images de surveillance dans les filmsmontre l’impact de phénomènes sociaux dans la représentation tant des images desautorités, que celles produites par les citoyens A travers les concepts de la surveillance, en passant par ceux de la sousveillance, la caméra de surveillance aucinéma apporte des points de vues divers sur le monde qui nous entoure en puisantégalement dans des représentations hybrides via l’intermédialité proposée par les films. / The contemporary society is immersed in a state of surveillance, which forces it to set up specific security devices. The surveillance techniques used are mainlybased on observation and listening. Thus, cinema, as an audio and visual art has adopted some of these devices, such as the surveillance camera.This research takes part in the Visual Culture Studies, and aims to offer anarcheological description followed by the analysis of a specific gaze, that of the surveillance cameras, which has often been actualized over the past several years through narrative cinema. Consequently, the increased presence of thesesurveillance images in the movies shows the impact of social phenomenons in the representation of images produced by the authorities and those produced by private citizens. With the notions of surveillance and sousveillance, the surveillance camerain cinema displays several points of view of the world that surrounds us, using also hybrid representations through the intermediality offered by films.