小說《純真博物館》(2008) 出版後四年，土耳其作家奧罕．帕慕克於伊斯坦堡成立了與小說同名之實體博物館，並於同年出版了博物館目錄冊The Innocence of Objects (暫譯為《物件之純真》(2012)) 闡述其博物館起源與設計概念，此獨特之藝術計劃以「純真」為主軸，創作出包括小說、實體博物館與目錄冊等跨媒介作品，也開展了小說敘事、收集行為、物件陳列及博物館空間等不同領域之對話。本文試以《純真博物館》計劃為研究對象，希冀探討帕慕克如何藉由敘事、紀念物收集及實體博物館設計呈現抑或再現此「純真」之意。本文共分為介紹、三章節及結論。第一章小說文本分析借助羅蘭．巴特《戀人絮語》為主要分析架構，探討敘事者凱末爾何以視其愛戀對象芙頌為意象拼貼之主要媒材，進而闡述其敘事風格與「純真」之連結。第二章旨在連結收集行為之純真特質與蘇珊．史都華紀念物理論，進而探討收藏者何以藉由物件收集及個人敘事重返「純真」之境。第三章著重於實體博物館之視覺與空間設計，首先將分析其物件陳列何以與珍奇櫥櫃傳統、超現實主義物件及約瑟夫．康奈爾的微型木盒裝置產生對話，進而探問帕慕克的櫥櫃設計與物件如何實體化對於失落純真之想望與渴求；第二部分則援引加斯東．巴舍拉《空間詩學》中對於理想家屋的描繪以探討此博物館如何藉由家屋結構、迴旋式階梯及閣樓空間形塑一重返原初家屋之感官經驗。

Four years after the publication of the novel The Museum of Innocence (2008), the Turkish novelist Orhan Pamuk founded a museum with the same name in Istanbul to serve as the physical counterpart of the novel. In the same year, he published a compelling catalog—The Innocence of Objects (2012)—explaining the development of the actual museum and the cabinets that compose its collection. This thesis is an exploration based on the premise that Pamuk’s project demonstrates the quest for innocence according to the following three axes: narrating, collecting and materializing. It consists of an introduction, three chapters, and a conclusion. Chapter one is an attempt to offer a textual analysis and a comparative reading of the novel through Barthes’s A Lover’s Discourse and, furthermore, to explore the design of the narrative and its relation to “innocence.” Chapter two explores how the act of collecting could be seen as an innocent act and analyzes the souvenir collection intrinsic to this project. The relationship between narrative and souvenir objects will be tackled with Susan Stewart’s On Longing. Chapter three moves on to explore the curating choices of the physical museum. It will ask how the tradition of the cabinets of curiosities, the aesthetic impact of surrealist objects—more specifically Joseph Cornell boxes—could shed light on the quest of “innocence” at work within the display strategies deployed in the Museum of Innocence. Secondly, in light of Bachelard’s work The Poetics of Space, the last section will delve into how the domestic space and the spiral viewing path that leads to an attic can shape the viewing experiences into a home-returning journey.

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