<p>談到空間的「詩學」,巴舍拉立即想到家屋。他尤其稱揚自幼居住的房舍,他試圖在此間探索幸福空間的意象。哲學家探究屋舍的各處空間,從地窖到閣樓,也同時分析了屋內的櫃子與抽屜。因為他不只要探索空間,更想了解空間與居住者間親密的互動。本文試圖探討:默迪阿諾小說的人物,多半是無國籍、無身份證件的人,這些人怎麼幻想或看待一間從小生長的房子?這些人物很少談論到家屋,更少機會能回到小時生活過的屋舍。他的小說中,直到第四本小說《傷心寓所》,才第一次出現有關家屋的描寫。這是女主角依鳳的家。依鳳對於這間房子是否存在著巴舍拉頌揚的感動?此外,小說主角緒瑪哈,一個無國籍者,又是怎麼看待他未婚妻的家屋?本文將以巴舍拉的觀點來分析《傷心寓所》關於家屋的描寫。我們將探訪依鳳的老家,她童年時的臥室。巴舍拉非常讚揚這個私密的空間。此外,我們將探討一間不在視線範圍內,卻一直被感知的鄰室,它充滿了消失及不復存在的過往的意象,最後,我們將探索一間樂園般的修車廠以及緒瑪哈對他未婚妻的這間老家的想法。</p> <p>&nbsp;</p><p>Speaking of the &quot;poetics&quot; of space, Bachelard immediately thinks of the house. He especially exalts the house where people live since childhood, where he tries to explore the &quot;happy mind&quot;. He details each space of a house, from the cellar to the attic, and at the same time analyzes the cabinets and drawers within. Because he explores not only space, but also wants to understand the intimate interaction between the space and the occupants. But most of the characters in Modiano’s novels are stateless and without identity documents. How do these people imagine or see a house that grew up from childhood? These characters rarely talk about their homes, and even less of a chance to go back to the houses they lived in as children. In his novels, it was not until the fourth novel Villa Triste that the description of the family house appeared for the first time. This is the home of the heroine Yvonne. Between this house and Yvonne, is there something touching like that described by Bachelard? Moreover, how does Victor Chmara, the stateless protagonist of the novel and Yvonne’s fianc&eacute;, see this house? This article will analyze the description of the house in Villa Triste from Bachelard’s point of view. We will discover Yvonne’s home, her childhood bedroom &ndash; an intimate space Bachelard admires, then see a neighboring room which evokes disappearance and the untraceable past, and finally in a last part, we will explore a paradise-like garage, and we will see what perception Victor Chmara has of the home.</p> <p>&nbsp;</p>