摘要
徐四金(Patrick Suskind)的小說《香水》(Perfume;原德文名為Das Parfum)無疑是本同時享有讚賞以及譴責的知名作品。然而，作品本身的爭議性越大，其中可能存在的對話空間也就越大，而這正是本論文撰寫的動機---探索這本具爭議性的小說中的潛在意義。
嗅覺為《香水》中一個顯著的特色，是故本應加以關注。然而令人訝異的是，在這本小說的文學批評背景中卻罕見關乎嗅覺本身的討論。再者，人類在出世以後便與嗅覺緊密相關 ，但是卻很可惜地無法真正與嗅覺這個感官親近。在《香水》這本小說中，我們發現了一個傳統的主題：一個需要被愛的畸形的人，由此主題發展了令人印象深刻的小說。因此本論文將以探討嗅覺感官以及小說主角葛奴乙(Jean-Baptiste Grenouille Grenouille)的平行對應關係為策略。簡言之，我們從一個嗅覺的角度來瞭解葛奴乙，這也許是最為適切而忠實的方式。
在本論文中，序論的部分將包含《香水》的文學批評背景，同時也經由討論的鋪陳來強調嗅覺感官本身的意義，並且進一步闡明嗅覺感官與葛奴乙的平行對應關係。接著在第一章當中將會著重於嗅覺感官在人類歷史觀點中的地位、意義以及角色的研究，其時代範圍囊括自古代希臘時期至今。嗅覺在人類歷史上的軌跡實則與人類文明主流的變遷息息相關，即使是對於嗅覺的壓抑也透露出該時代背後的精神，就某些層面而言，這壓抑可以被解讀為維持所謂的「常態」的手段。經由第一章，我們將凸顯一個新的、適切的角度來處理嗅覺感官，而因此裨益對於嗅覺以及葛奴乙的進一步閱讀。
在第二章，藉由研究微妙的三角關係: 介於神的語言、葛奴乙的(嗅覺的)語言以及一般人類的語言，我們將探討語言的可信與否來進一步挑戰對於嗅覺的刻板印象。班雅明(Walter Benjamin)對於語言的分析、以及拉康(Jacques Lacan)和齊傑克(Slavoj Zizek)的觀點都有助於本章的進行，人類語言的效率將被質疑以及嗅覺語言的界限也將被發掘。而上述兩點都對葛奴乙有重要的影響，同時也形成葛奴乙與他的周圍人事物同化的障礙。此外，這兩點也被解讀為嗅覺天生的匱乏(lack)。而當這匱乏越是為人類語言所入侵，如此的匱乏越是被凸顯。接續在第三章中，我們將探討這樣的匱乏在葛奴乙身上的運作以及此運作與命名(naming)、身份建構(identity construction)和性慾(sexuality)的關連。而從這樣的分析脈絡，葛奴乙將被從連續殺手、爬蟲類、強暴犯等可怖的刻板印象當中釋放，而回歸本質地被解讀為一個需要被愛的人類。而在第二章中已經運用的拉康的鏡像理論中的想像界(The Imaginary Order)、真實界(The Real)以及象徵界(The Symbolic Order)將持續地被使用於第三章中，另外齊傑克對於此理論精闢的解釋也運用於其中。葛奴乙在保有自我以及被愛的渴望當中進退、掙扎著，而透過拉康的理論以及齊傑克的解析，葛奴乙其人的意義以及其行為的動機將被剖析。
最後，在第四章本論文的結論，香水、香水師和愛的本質將是本章的重點。從這樣的脈絡，我們再次地看見嗅覺是如此的貼近人類生命; 同時也瞭解到，就某些程度上而言，每個人都是一個香水師，與葛奴乙無異。再者，拉康與齊傑克探討愛的分析同樣地幫助了對愛的本質探討，由此產生了一個樂觀的結論：愛，仍然是生命最好的救償。
葛奴乙的故事觸動了本論文撰寫的動機。於是，在葛奴乙的生與死中，我們嗅聞到了愛的本質。如此的嗅覺探索本身亦是再次地為葛奴乙的生存意義辯護。

Abstract
Perfume, translated from Das Parfum by Patrick Suskind, has been no doubt a worldwide celebrated novel, which share its fame from both condemnation and glorification in literary circle. However, in a way, the more controversial the novel is as such, the more dialectic space possibly exists. It is the motive of this thesis: to explore the potential significance within this contestable novel.
It is surprising to discover the negation of sense of smell in the literary background of this novel. Smell, as a prominent feature of this novel, deserves critical attentions. In addition, human beings are destined to be tightly connected with the sense of smell since their birth but pitifully fail to find this sense amiable. Frankly speaking, we find in Perfume a traditional motif—a deformed man who wants to be loved -- and an impressive story in which this is developed. What makes this novel unique? Why does the author focus on the sense of smell rather than the more traditional sense of sight, or some other gift, such as a musical or literary talent? Consequently, it will be our strategy to read the sense of smell and Grenouille, the protagonist, to be parallel to each other as the negated in traditional sense. In short, from an olfactory angle, we attempt to understand Grenouille in a probably most suitable and consequently a faithful way (for Grenouille). Instead of viewing him as a social deviant, we argue that he is a human being in need of love.
In this thesis, the Introduction will contain literary background of Perfume and emphasize the significance of the sense of smell, which is seemingly neglected in traditional academic divisions. Also, the parallel relationship between the sense of smell and Grenouille will be further discussed. Then, Chapter One will be a careful analysis of the human historic view on smell since the ancient Greek. We will find such a historical track of smell well correspondent to the variation of human civilization trend. Even the act of repression on smell connotes the spirit of ages behind and therefore repression in some way is interpreted as a purposeful means to maintain the so-called norms. In Chapter One, we will highlight the new and proper angel upon the sense of smell to enhance our further reading of smell and Grenouille in the sunsequent chapters.
In Chapter Two, we attempt to unearth the triangularity among God, humans, and Grenouille with the study on language to challenge the stereotype of the olfactory in Chapter One. Walter Benjamin’s analysis of language and Lacan’s and Zizek’s viewpoints enhance our understanding in this part. We question the efficiency of human language and discover the boundary of the olfactory language, both of which indeed have a great influence on Grenouille and exist as obstacle barring Grenouille from assimilating with his surroundings.
As far as Chapter Three is concerned, we find in the previous chapter the incredibility of human language and the boundary of the unbounded olfactory smell. We may well say that it is smell’s (and Grenouille’s) primal lack, which is especially highlighted when human language (and civilization) intrudes. From this trajectory, it is necessary to further explore the connection between this feature and its operation on Grenouille, such as naming, identity construction and sexuality. We attempt to transfer the motive of series murder to the demands for love. The latter is closer to Grenouille’s background in our analysis.
Finally, in the final chapter, we further look into the quality of perfume and the essence of love, to which we apply Lacanian and Zizek’s analysis concerning love. Here we once again see smell, once again, so close to human life. We also find that Grenouille, with his talent and life problem, is the most prominent embodiment of the sense of smell. Or, every one of us is a perfumer to some degree. It also shall be meaningful to search the possible solution to Grenouille’s dilemma. Consequently, we shall find Grenouille much closer to us. Last but not least, we make an optimistic conclusion: love is still the best remedy for life.

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