碩士論文

Can a Racial Subaltern Speak in a Colonial Society? J. M. Coetzee’s Waiting for the Barbarians and Foe 柯慈《仇敵》與《等待野蠻人》:種族附屬者是否能在殖民社會發言?

學年 / 98　學生 / Lena Yi-Fang Ho 何宜芳　指導教授 / Kate Chiwen Liu 劉紀雯老師　

This thesis explores whether a racial subaltern can speak in a colonial society depicted in the two novels of a postcolonial South-Africa writer, John Maxwell Coetzee: Waiting for the Barbarians (1980) and Foe (1986). The question is whether the racial subalterns, the black girl in Waiting for the Barbarians and Friday in Foe, can speak for themselves because of, or regardless of, these attempts at communication. If they can, what and how can they actually speak out of the oppression and silence that they suffer, and can the colonizers, like colonial leaders in Waiting for the Barbarians, and Susan Barton or Mr. Foe in Foe, hear them? If these colonizers can hear the colonized, how much can the ones understand the others? If, on the other hand, the racial subalterns can not speak, what kind of institution forces them to remain speechless? Also, how are they represented by other colonizers? These questions will be examined carefully by analyzing the relationships between the racial subalterns and colonizers in both novels.

本論文旨在探討下層階級(subaltern)在殖民社會中是否可以發言？在柯慈《仇敵》(Foe) 與《等待野蠻人》(Waiting for the Barbarians) 二書中，兩位下層階級人物，野蠻女孩 (the barbarian girl) 和星期五(Friday)，他們是否可以在書中說出他們的心聲，即使遭受到社會和政治上的壓迫。在一個極度種族歧視和政治不平等的社會，如果他們能夠表達自我，他們會表達什麼？甚者，他們是否能夠完全陳述出社會中下層階級的辛酸與沉默。而誰又會是他們的聽眾呢？《仇敵》(Foe) 與《等待野蠻人》(Waiting for the Barbarians) 二書中的說書者 (storyteller) 會是野蠻女孩 (the barbarian girl) 和星期五 (Friday) 的聽眾嗎？如果是，他們又可以了解多少下層階級的無奈呢?

Pleasure Pursued and Lost in The Picture of Dorian Gray: The Tragedy of Lord Henry Wotton 亨利爵士的悲劇：　論格雷的畫像中的縱慾與墮落

學年 / 98　學生 / Sasha Ling 凌千喆　指導教授 / Petros DOvolis 裴卓仕老師　

This thesis provides an alternative way of reading The Picture of Dorian Gray, and rethinks the role of Lord Henry Wotton in novel. My thesis is divided into five chapters. An introductory Chapter provides an overview to Lord Henry Wotton with an evaluation of established readings of The Picture of Dorian Gray. Chapter I is the analysis on Lord Henry Wotton’s interpretation and understanding of pleasure, which dominates his behavior throughout the novel. In Chapter II, I explain how Lord Henry Wotton develops his intimate relationship with Dorian Gray, and how he experiences various pleasures from talking to the younger man. Chapter III explores the gradual downfall of Lord Henry Wotton, for in the later chapters in the novel the young man changes and takes away the pleasure that Wotton used to enjoy. Finally, in the last chapter, I deliver an in-depth discussion on Wotton’s tragic treatment within the narrative, for I believe he receives an ending that is even more sorrowful than Dorian Gray’s.

本論文帶領讀者重新閱讀王爾德於一八九一年出版的小說－<<格雷的畫像>>。藉由<<亨利爵士的悲劇：論格雷的畫像中的縱慾與墮落>>，作者分析小說中所發生的各種事件，試圖探討亨利爵士在小說中的地位。自十九世紀迄今，眾多學者認為亨利爵士在小說中代表著墮落的邪惡力量，並且認為是他誘陷格雷於悲劇之中。然而，作者試圖用亨利爵士的觀點來重新閱讀這本小說，並且試圖說服讀者他非但是這整齣悲劇的肇因者，而是一個歷經理想幻滅的可悲之人。
在<<格雷的畫像>>中，王爾德用文字建構了一個享樂為上的浮華世界，這些王公貴族們總是有參加不完的奢華晚宴，並且用無數的金錢來追求高品質的生活享受。在王爾德筆下，這些身處英國上流社會的仕紳名人最大的興趣就是談論有關於藝術的話題，同時分享彼此對美的見解，盡情的享受人生中一切美好的事物就是他們的人生目標。而亨利爵士更是將此種享樂主義發揮到淋漓盡致。在他的前半生，王爾德將他塑造成一位只顧著享樂的自利主義者。為了奉行他對享樂主義的信念，亨利爵士嘗試當一位不被情緒左右行為思考的人，雖然他總是在宴會上談笑風生，但是面對人群時卻從不輕易展現自己真正的情緒。他鮮少展現出悲傷的情緒，於是外人總會將他時而冷漠的態度解讀為無情。當他結髮多年的妻子與一位鋼琴師私奔而去時，亨利爵士也僅用冷淡的三言兩語來表達他對這整件事情的看法。就因為享樂主義是他人生全部的重心，所以他才會用這種淡漠的態度生活著。但他的人生在格雷出現之後便出現了大改變，面對這位單純又容易受影響的少年，亨利爵士試圖用享樂主義去影響格雷的想法，他自己似是而非的理論在這位俊美的少年身上發酵，並且帶給亨利爵士一種無與倫比的快樂。於是在長達十八年裡他們的感情如膠似漆，然而在兩人的互動中，不僅是亨利爵士改變了格雷，同時格雷也改變了亨利爵士對慾望的執著。換句話說，在無形之中亨利爵士早已分不清楚他是離不開格雷的陪伴，抑或是格雷帶給他的快樂（pleasure）。原本亨利爵士一生都不需要煩惱這個問題,然而當格雷在盛怒下殺了巴索後，亨利爵士的命運也因而改變。在歷經畫家巴索的謀殺案後，受盡良心譴責的格雷再也快樂不起來，因此在和亨利爵士交談時總是死氣沉沉，自然也無法帶給亨利爵士快樂（pleasure）。感受到異狀的亨利爵士此時竟一反常態地關心起格雷所有的情緒起伏，並且努力想要找回那個開心的格雷，而非像以前那樣冷眼旁觀他人的痛苦。換言之，享樂主義不再是亨利爵士生活的唯一目標，他為了格雷而放棄了追逐快樂（pleasure）的權力，甘願被格雷所俘虜。然而，改變後的亨利爵士並沒有變得更快樂，因為愁眉不展的格雷只帶給他無比的痛苦，這位俊秀如昔的年輕人不再是亨利爵士的應聲蟲，他開始反駁質疑亨利爵士的看法，不再溫馴地聽從這位爵士的指令。於是在書中的第十九章，亨利爵士卯足全力想要得到格雷的注意力，然而這一切都阻止不了即將發生在亨利爵士身上的悲劇。在書中的最後一章，格雷選擇自縊身亡，這件事情帶給亨利爵士比死亡還要痛苦的折磨，同時作者更是藉由結局一章暗示亨利爵士是一個自始至終都自缚於幻覺之中的孤靈人。

King Lear's Madness and Rhizomatic Lines of Flight 李爾王的瘋狂與地下莖狀的逃亡路線

學年 / 98　學生 / Sunny Li 李雅琪　指導教授 / Dr. Raphael J. Schulte 蕭笛雷老師　

Resulting from his fixed thinking system cultivated in the court, Lear mistakenly believes his two elder daughters’ claims to love him to be true. The deep-rooted thoughts that he is sublime and adored makes Lear unable to bear that his beloved Cordelia expresses less love than her sisters, Goneril and Regan. Away from the court where he is situated in the supreme position of a hierarchically “arborescent” structure, Lear enters the heath, where “trees” are unable to survive. The landscape in the heath not only mirrors the bleak heath in Lear’s mind but also forms a place, where “hierarchical trees” no longer bother his way to think and to repent, where Lear is able to speculate on who he was and who he should be. The storm that arises between a father and his daughters causes another storm to hit this father, Lear. Lear is not wise enough to make a good decision to transfer the regime to rule his country, so in his world “things might change or cease” (3.1.7), and Lear is unable to restore everything in his original world. The interior storm tortures Lear to the extent that he is unable to endure. Nonetheless, rather than trying to commit suicide as Gloucester does, the powerless Lear chooses another way to restore his original power—Lear creates a fancied world, where he could be a wiser and kinder man than he was before. The originally unwise, unkind and powerless Lear ceases to exist, and “King Lear” changes. In this fancied world, he is able to tolerate others; he is wise enough to discern sincerity from hypocrisy (3.2.54); he is powerful enough to punish the hypocrites. Lear is mad; meanwhile, Lear becomes the most rational person. With the theory of “rhizomatics” coined by Gilles Deleuze and Felix Guattari in A Thousand Plateaus: Capitalism and Schizophrenia, I explore the process of how Lear struggles in adversity and how he mentally transforms while facing the unbearable pain. I conclude that Lear transforms his mentality and personality. Lear, at the end of his life, having gone though several mental transformations, from a tree-king becomes a completely rhizomatic man.

由於在宮廷中自幼及長所養成的僵化樹狀思考模式，李爾王錯認大女兒及二女兒所宣稱對他深刻的愛是真的。李爾王根深蒂固誤認自己的地位至高無上且倍受景仰的想法使得他無法忍受摯愛的小女兒柯苔莉雅不願當眾表示她對自己的愛超越她對其他任何人的愛。宮廷裡的李爾王位居階級式樹狀結構的最上層；遠離宮廷，李爾王進入了「樹木」無法生存的荒原。荒原中的景色不僅反映出李爾王內心的荒涼絕望，也因為這裡沒有任何階級式樹狀結構來妨礙李爾王省思並悔過，而成為一個讓他能夠深思過去的自己是什麼樣子的人而未來的自己又想成為什麼樣子的人的地方。源自於父女間不睦的一場風暴轉變成另一場擊垮這位父親的風暴：李爾王並非聰明得足以自行決定如何和平轉移國家政權給下一代，因此在他的世界裡，一切的事物似乎都改變或終止了；而李爾王無力讓他的世界回歸原狀。內心的風暴折磨著李爾王到他無力負荷的地步。然而，失去權力的李爾王並未如同葛樂斯德伯爵一樣在絕望時企圖自殺，他反而選擇了另一個恢復原有權力的方法：李爾王創造了一個幻想世界，在這個世界中他可以變成一個比過去的自己更有智慧而仁慈的人。原本愚昧不仁而無能的李爾王不復存在了；他改變了。在這個幻想世界中，他能夠體諒別人，他聰明得足以區別真摯與虛偽，他握有賞善罰惡的權力。李爾王是瘋狂的，然而瘋狂的李爾王也同時是理性的。藉由德勒茲與瓜達里在《千高原》中所創的地下莖理論，我著手探討李爾王面對困境時的掙扎，及其面對無法承受之痛苦時的轉變。我的結論是李爾王的心理及人格確實轉變了；在生命的終點，在經歷過多次的心理轉變之後，李爾王，從一個死守僵化樹狀思考模式的國王，轉變成一個像地下莖一般能朝任何方向自由成長的人。

“Shell and Kernel”: A Narratolgical Approach to Joseph Conrad’s Lord Jim 外殼與內核：康拉德小說中敘事形式與內容之研究

學年 / 97　學生 / Tower, I-chun Tao 陶逸群　指導教授 / Father Daniel J. Bauer 鮑端磊老師　

Over the years, several studies have been made on Joseph Conrad’s narrative method, and some of the most compelling studies have focused on Conrad’s modernist sensibility and his exploration of a new form of aesthetics. Lord Jim serves as a model of Conrad’s aesthetic credo to build a new form of reality. The author’s invention in the novel, with its fictitious characteristics, is by no means a counterpart of a physical world, but rather, a mirror that reflects the distorted, misty impression of reality. This thesis is divided two major parts. The first part deals with the transformation from the story to the text. This is an attempt to explore the way Conrad interweaves different story materials into a textual web. The discussion will involve several distinct features of Conrad’s literary impressionism. In the second part I will discuss how the fictive text mirrors the historical, social and cultural context. To examine the text-context relationship, I will look at the bond of time and space by using Mikhail Bakhtin’s theory of chronotope.

康拉德為現代小說開拓新局，冀求以形式再現真實的原貌，顛覆傳統小說中以故事內容為主軸的敘事手法。對康拉德而言，故事所傳達的意義隱身於敘事體外部，而非故事內部情節，敘事結構本身即為隱喻。本論文用敘事學探究康拉德小說中的鏡像效應，著重作者對現實所感知的意識，透過敘事體折射，呈現時而扭曲放大、時而朦朧曖昧的印象與能指。本論文分為兩部份，第一部份討論故事與文本之間的關係，藉由剖析故事元素轉瞬為文本的軌跡，突顯主體意識所認知與外部客觀事實之歧異。第二部份著重文本與社會文化脈落的關係，探討小說形式如何以歷史之姿揭露作者意識形態與現代性中的離散與疏離。

連結：http://140.136.209.5/cgi-bin/cdrfb3/gsweb.cgi?ccd=ZGX..K&o=v4-8

Individuation, Redemption, and Transcendence: A Jungian Archetypal Reading on the Exploration of Self in C. S. Lewis’s The Chronicles of Narnia 心靈成長，救贖，與超凡: 以榮格原型理論探索《納尼亞傳奇》中的自我

學年 / 97　學生 / Eric Chien-Pao Chen 陳健寶　指導教授 / Cecilia Hsueh-Chen Liu 劉雪珍老師　

This thesis is an attempt to study the themes of individuation, redemption, and transcendence in C. S. Lewis’s The Chronicles of Narnia by means of C. G. Jung’s archetypal theory. Through exploring the recurrent fairytale elements in the seven books, the introduction of the thesis aims at making a connection between literary texts and critical approach.
The first chapter focuses on the shadow part of human unconscious as well as the motif of forbidden knowledge, moral choice, and fortunate sin, and further explores the process of individuation in the human psyche. Together with the theme of individuation, the psychological meaning of redemption is discussed, too; in The Chronicles of Narnia, it is conspicuous that mental growth is the way to redemption.
The focus of my second chapter is on the analysis of the anima (the feminine in man’s inner self), the anima reaction, and most vitally, the projection of the anima figure in one’s childhood—the role of mother in the tales. Beginning with the anima experience of Uncle Andrew in The Magician’s Nephew, this chapter explores the anima experience of Prince Rabadash, Prince Caspian, and Shasta and, through Andrew’s case, the persona involved in clothing and the witch figure.
The third chapter centers on the externalization of the oppositional tendencies between good and evil in the human psyche and, through the principle of human nature in the pursuit of goodness, I analyze the effect Lewis produces by the destruction of the old Narnia and the eternal stay of Aslan’s followers in Aslan’s country, which forms a new Narnia as well. Locating Aslan a core figure in the seven Narnian books, Lewis empowers his tales with transcendence different from other fairy tales. The strong emotion of longing for and faith in Aslan makes the pursuit of goodness a terminal and eternal happy ending in The Chronicles of Narnia.

本文以榮格原型理論為架構，分析英國作家路以思膾炙人口的奇幻童話《納尼亞傳奇》，並探索路以思所欲傳達的「心靈成長」，「救贖」，與「超凡」之主題底蘊。藉由《納尼亞傳奇》七個故事中重複再現的童話故事元素為觀察起點，緒論爬梳榮格原型理論，並連結文本做研究分析。
第一章聚焦於人類潛意識的黑暗面向，探索人性的邪惡本質，分析童話故事中常常出現的橋段—「禁忌的知識」、「良知的抉擇」、「幸運的罪過」等主題，透過這些主題來深入分析《納尼亞傳奇》中幾個重要角色「心靈成長」的過程。在童話故事中，「心靈成長」往往是通往救贖的重要過程。因此，本章也著重分析「救贖」在童話故事中的意涵。
第二章的分析重點聚焦於男性自我中壓抑的陰性性格，透過男性自我中陰性性格不自覺地活絡反應，到瞭解並接受這些潛在個性，分析《納尼亞傳奇》中幾個主要男性角色「心靈成長」的過程。這些男性自我中壓抑的陰性性格的投射對象—皇后、公主、母親、女巫—也是本章的研究重點。尤其是母親和女巫的角色，在童話故事中佔有舉足輕重的地位。
在第三章則探討路以思如何將人性中善與惡、是與非、正與邪二元對立的原型，透過他筆下精心設計的人物及巧妙營造的意象呈現給讀者。以聖獅亞斯蘭為良善正義的終極象徵，路以思在《納尼亞傳奇》中賦予「超凡」的主題更深層的意涵。本論文最後一部分為結論。

Identity and Performativity in Tony Kushner's Angels in America 《美國天使》中的身分認同及性別展演

學年 / 97　學生 / Hugo Chih-hao Tseng 曾志豪　指導教授 / Cecilia H. C. Liu 劉雪珍老師　

Through analyzing the characters’ changes and transgression of boundaries in Tony Kushner’s Angels in America, I attempt to demonstrate that the forming of identity is problematic but dynamic. Identity is problematic and unstable because in this play there are both thematic elements of change and relapse, and dramatic technique of cross-dressing. Identity, on the other hand, is dynamic because of the use of argumentative dialogue and split-scene technique, as well as the possibilities of progress towards the end of the play. In the portrayal of the characters’ identification, Kushner manifests that the gender identity is performative in Judith Butler’s notion. The dialectical structure of the play not only displays how gender identity is regulated by heterosexuality in the grand history, but also provides fissures for the playwright to constitute his queer counterhistoy.
There are four chapters in my thesis. The first chapter, “Introduction,” provides the historical background of the play, the brief biography of the playwright, the critical reviews, the theoretical framework, and my concerns on the critiques of the play.
In the second chapter I argue that the characters’ identities go through extreme changes. These changes deconstruct the characters’ original identities. Moreover, it is after this deconstruction that they have the opportunity to form new identities. To illustrate the instability of identity, I base my discussion on Stuart Hall’s idea of identity as a process of identification, and examine how Kushner destabilizes the assumption that identity is fixed.
In the third chapter, I refer to Judith Butler’s theorization of gender performativity to elucidate how Kushner articulates his queer counterhistory to subvert the grand history dominated by heterosexuality. Butler believes that there
must be fissures and disruptions in the course of identity construction. Through my discussion of Kushner’s queering of American history, I demonstrate how Roy and Prior serve as Kushner’s agents to formulate his queer counterhistory.
In my conclusion, through the examination of Kushner’s significance in and contribution to American queer theater, I base my critique on the discussion of Kushner’s optimistic position and political stance in Angels in America.

本論文藉由分析東尼．庫許納《美國天使》中角色的改變及越界，來論證身分認同的建構過程乃是充滿不確定性且變動的。在本劇中，庫許納運用了改變及故態復萌的主題性元素，以及變裝的舞台手法，來呈現身分認同的流動性。另一方面，身分認同的變動性來自於角色間辯論式的對話，場景的錯置，以及劇末所暗示進步的可能性。透過呈現劇中角色的性別身分認同，庫許納呼應了巴特勒所提出的性別展演的概念。此劇辯證性的架構，不只說明性別認同乃是在宏觀歷史中由異性戀體制所規範，也同時提供作者建構其對立的酷兒反歷史論述。
本論文共有四章。在第一張序論中介紹了本劇的歷史背景，作者生平，批評家及劇評的回顧，身分認同的理論架構以及本論文的研究方向及論點。
第二章說明劇中角色的身分如何因外在劇烈的變動而被解構。在解構的過程中，主角們面臨了重新建構新身分的機會。本章透過史都華．霍爾所提出的文化身分認同的概念來檢視庫許納如何顛覆身分認同乃是固定不變的假設。
第三章藉由茱蒂斯．巴特勒的性別展演理論，來探討庫許納如何操弄酷兒反歷史論述來顛覆宏觀歷史中的異性戀體制。巴特勒相信在建構身分認同的過程中存在著分裂及瓦解的可能性。此章討論庫許納如何運用羅依(Roy)及普兒(Prior)來將美國歷史酷兒化，並闡述酷兒反歷史的意義。
在結論中，此論文回顧庫許納在美國酷兒劇場中的重要性及貢獻，並由此來解釋庫許納在《美國天使》的樂觀態度及政治立場。

Subjectivity and A Poetics of Death in SHAKE-SPEARES SONNETS and A Louers complaint 《莎士比亞十四行詩》與《戀人的控訴》中的主體性與死亡詩學

學年 / 97　學生 / Kevin Yao 姚凱元　指導教授 / Dr. Raphael J. Schulte 蕭笛雷老師　

The aim of this thesis is to inquire into the topic of death in relation to subjectivity in Shakespeare’s sonnet sequence. I argue that Shakespeare presents his views and responses to the idea of the self and the impact of the death culture of Renaissance England in his long-term sonnet writing that demonstrates the formation of sonnetizing subjectivity. Chapter one introduces the idea of death as a construct that influences the presentation of the self and the literary form of representing the subject. Next, I focus on the young man sonnets in which the poet speaker‘I’re-invents a poetics of death by integrating the imaginary death at“an intensely imagined present”to re-define and situate his newly emerged subjectivity. Then, the poet speaker‘I’re-proposes a new strategy of temporality in delineating a symbolic death of the constructed subject“Will”and its resistance in the dark lady sonnets. Chapter four presents how the final two sonnets disclose an inverted response to the symbolically dying and reborn subject. Finally, I will focus on the ending of A Louers complaint from which the subject position of the‘I’is paradoxically vanished, and this vanishing gesture of the subject completes the project of mortality–embedded subjectivity. I conclude the thesis by emphasizing the feature of the intensification of the self and mortality and how this transitional sonnetizing subjectivity inspires a new path in re-plunging into Shakespeare’s sonnet sequence.

本論文旨在探究莎士比亞十四行序列詩集裡死亡與主體性之間的關係。我在論文裡指出，莎士比亞在他長期的十四行詩創作生涯裡，回應自我的主題與英國文藝復興時期死亡文化的影響，提出十四行詩化的主體性形構。第一章討論死亡的概念乃是一個建構物，影響了自我形象的呈現以及文學形式裡的主體再現。第二章則將重心放在年輕人十四行詩組的討論，並指出詩人說話者「我」藉由重新改寫死亡詩學，將詩裡的想像性死亡置入一個「高度壓縮的想像性現在」，再次地定義，並由這個空間裡產生出詩人的主體性。第三章說明了詩人說話者「我」在黑女士十四行詩組裡，提出另一個時間性策略，來描述這個被建構的主體「威爾」的象徵性死亡，以及詩人主體對於這個象徵性死亡的抗拒與逃離。第四章討論十四行序列詩集中最後的兩首詩，並指出這兩首詩是對象徵性死亡與重生主體的翻轉式回應。終章則是集中探討十四行序列詩集《戀人的控訴》中的最後一段詩節，並指出「我」的主體位置在結尾處悖論式地消失，而這個主體位置的消失姿態，最終完成了死亡性內置的主體性計畫。我在論文的結論裡，強調了自我與死亡性的緊張關係，以及過程中的十四行詩化的主體性，引導並啟發我們再次進入莎士比亞十四行序列詩集世界的一條嶄新路徑。

Shakespeare's Foreign Women 莎士比亞的異族女人

學年 / 97　學生 / Kevin Chen 陳奏賢　指導教授 / Dr. Raphael J. Schulte 蕭笛雷老師　

This thesis explores Shakespeare’s representations of foreign women, and shows the relationship between the texts and their social contexts. The content of this thesis includes four chapter-length studies of gender and race in Shakespeare’s works, one each on Titus Andronicus, Shakespeare’s Sonnets, Antony and Cleopatra, one on The Merchant of Venice, A Midsummer Night’s Dream and Othello, and the conclusion on The Tempest. In these works I discover that the images of Shakespeare’s foreign women, that are alienated and marginalized, are grounded in the interwoven relationships among the poetic and dramatic conventions, the geographical and exotic imagination, and the theatrical practices in the early modern period. Through an examination of the ways in which the foreign women are presented, how the texts’ elaborate strategies undertaken present the foreignness of the other reveals the anxieties of western male-dominant culture about being contaminated by the racial and gender other in the early modern period. The presences and the absences of the foreign women not only destabilize the cultural order the western white supremacy attempts to rebuild but also connote the Elizabethan and Jacobean anxiety of self-affirmation.

本論文探討莎士比亞的作品如何呈現異族女人。第一章檢視在泰特斯‧安

莊尼克斯裡，塔摩拉與外遇對象摩爾人亞倫，以及他倆所生的黑小孩，如何在

劇中成為羅馬人鄙視的對象。第二章分析莎士比亞的十四行詩裡，敘述者、被

讚頌者與暗黑夫人，三者為一種三角關係，敘述者反映了伊莉莎白時代英國男

性的集體焦慮，在失寵時轉而去讚頌異族女性，而此讚頌卻帶著鄙視，就如他

們對新大陸的態度一樣。第三章分析埃及艷后如何在符合當時觀眾的期待下，

同時演出超越觀眾期待的樣貌，她的表演成為歷史、劇場、變裝、種族與性別

交互影響的場域。第四章討論在莎劇裡被提到但卻缺席的異族母親，威尼斯商

人裡，潔西卡的母親，也就是猶太商人莎萊克的老婆；在仲夏夜之夢裡，印第

安男孩的母親；奧塞羅裡，奧塞羅的母親；這些缺席的異族母親透過她們所留

下來的媒介物，戒指、手帕與男孩，揭露出這三齣劇裡白人男性社會對掌控劇

中社會秩序的焦慮。在結論裡，探討暴風雨一劇裡的普洛斯普洛，與卡力班、

卡力班的母親塞克瑞克斯，如何在心理狀態與境遇上相似，藉此總結本論文的

主題，西方男性藉由描述、引用、誤用來建構異族女性的形象，而在這建構的

過程中顯現出西方男性自身對於認同與秩序的焦慮。

Traumatic Maternal Love and Female Imagery in Elizabeth Bishop's Poetry 伊莉莎白‧碧夏的母愛創傷與其詩中的母親形象

學年 / 97　學生 / Sara Sun 孫一鳳　指導教授 / Dr. Kate Chi-wen Liu 劉紀雯老師　

This thesis focuses on the maternal imagery in Elizabeth Bishop’s poetry, which is related to her mother—the desirable but fearful image implying the traumatic loss of maternal love. With the support of Jacques Lacan’s psychoanalytical theory, I interpret the maternal imagery as the poetic objects, the substitutive signifiers replacing one after another the receded mother’s breasts. Moreover, I align this schema of signifiers with Bishop’s alcoholism to show her childhood trauma—the lack, the loss of maternal love—that drives her to articulate her desire for the mother in her poems. The dysfunctional white and stereotyped black female images in Bishop’s poems are the two focuses of this thesis. When interpreting the dysfunctional white women as maternal imagery, I display the repetitive representation of poetic objects, which indicate the lack rather than the satisfaction. In my discussion of Bishop’s black female images, I investigate her romantic illustrations of the black women, which forges the black maids and singers in her poems as objects of desire.
The first chapter is on Bishop’s representation of the dysfunctional mother and the dysfunctional self in “Swan-Boat Ride,” “In the Village,” “A Drunkard,” and “We hadn’t mean to spend so much time….” Then I move to Bishop’s two Key West poems, “Cootchie” and “Faustina, or Rock Roses,” to analyze the implications of white dysfunctional mistress as the dysfunctional mother as well as the failed relationships. Following the discussions of the abnormal relationship between the white mistresses and black maids, I turn to the stereotyped black women in the second chapter, where I investigate Bishop’s limiting as well as limited representations of black women and try to reveal her desire for enduring maternal care, which is embodied in her romanticization of black women in “Hannah A” and “Songs for a Colored Singer.” Finally, I move back to the female characters in “Cootchie” and “Faustina, or Rock Roses” to further discuss how the black maids resemble the unreliable mother and the risky relationships.

本論文主旨討論美國二十世紀詩人伊麗莎白‧碧夏，在其詩作中經由相關的意象重現在童年失去的母親形象來處理其因童年創傷而造成對母愛的欲求與懼怕。論文主要分析碧夏詩作中病態的白女人與被浪漫化的黑女人形象如何成為其反覆經驗欲求與失落的符號客體，並以拉岡(Jacques Lacan)心理分析理論來闡述母愛的失去如何不斷表現在詩作中白人女人、黑人女人、已及其他與母愛相關意象，並由此解釋失落感如何成為其詩作的基調。
本論文共分為兩部份，第一章由碧夏晚年所作，與其童年記憶相關的詩作〈村中〉(“In the Village”)、其未發表作品〈搭天鵝船〉(“Swan-Boat Ride”)、〈酗酒者〉(“A Drunkard”)、〈我們無心花這麼多時間…〉 (“We didn’t mean to spend so much time…”)開啟對其重現母親形象的討論。並以逾兩首寫於西嶼(Key West)的詩作〈酷琪〉(“Cootchie”)和〈費斯提那，岩玫瑰〉(“Faustina, or Rock Roses”)帶出詩中病態的白人女人如何成為取代母親形象的符號客體，並加以討論重現過程中反覆延宕，翻轉如一體兩面的失落與欲望。第二章主要討論碧夏對於美國西嶼所見異族女人形象的重現，並論證此些非裔美國女人如何在其詩中成為承接慾望的符號客體，並加以探討其中可能潛藏的，二十世紀初期美國白人社會非裔美國女人形象的刻版刻畫與對其母性的浪漫化與掠奪。此章除了探討〈酷琪〉與〈費斯提那，岩玫瑰〉這兩首由黑人女僕命名的詩作外，另討論碧夏寫給其在西嶼的古巴管家哈娜‧阿米達(Hannah Almyda)的作品〈哈娜欸〉(Hannah A)，並以其中碧夏將阿米達比喻為神鳥來闡明其對母愛，尤其是異族母親形象的浪漫幻想。接著討論〈給有色歌手的歌〉(Songs for a Colored Singer)中，碧夏如何挪用藍調歌詞中的數個母題與黑人女歌手的聲音來表達對母愛的渴望與對失落的焦慮。

Fear and Selfhood in the Gothic Novel: Mary Shelley's Frankenstein 哥德小說中的恐懼與自我：瑪麗‧雪萊的《科學怪人》

學年 / 97　學生 / Slyvia Lo 羅雅穗　指導教授 / Bro. Nicholas Koss 康士林老師　

When it comes to the performance of Gothic novel, certainly it reminds of the feeling of fear. For a Gothic novel, it always has the task to convey fear into the hearts of readers by any kind of ways. However, through the reading of Gothic novels, I discover a complex part of fear. Thus I would claim that, by the employment of fear spreading in their literary works, these authors of Gothic novel in the meantime express their beliefs to people of their time. These expressions are, on the one hand, their performances of their thoughts about the age showing to their contemporaries their inner self-examinations, and on the other hand, their critiques, or even their faith, on the world they are living in.
Even though Frankenstein is mainly known for the horrible and distorted monster in the story, in the experience of reading Frankenstein, in addition to the fearful plot, something is found as hiding behind the story. The monster is undoubtedly the key existence in the story: for one thing, it incarnates as fear to scare both the other characters inside and the readers outside; for another, its eloquence at the same time trickily encourages both the protagonist of the story and the readers to sympathize with this monstrous creature. Thus, the conflict illuminates the complicity of fear in the story: the plot is more than being fearful, and there is a need for clarification. With the base of the theories of psychoanalysis, this thesis is going to re-examine the feeling of fear and to give another definition to fear. In the story, the performance of fear actually indicates a constant desire of the possession of one’s self. By relating the feeling of fear to a desire of pursuit of the split self in the text, fear then becomes a reminder of one’s instinct which never gives in to one’s possession of self. At the same time, it means that fear then has a true function as a tool for self-awakening which helps the humankind pursue and then satisfy the natural desire to own a complete self.

一般而言，哥德式小說於眾人之印象裡，「恐懼」為其表現的必要一環。以其表現方式而言，哥德式小說的特點在於利用多重意象書寫方式方式傳達恐懼至讀者內心，但除了恐懼之外，我認為藉由恐懼的發酵，這些寫作哥德小說的作者們也同時向其同時代的人們表達自身思想，對內為對自我的內省，對外則是對世界的批判。
科學怪人以故事中恐怖畸形的怪物而眾所周知。特殊的是，科學怪人裡的怪物角色，一方面成了恐懼本身，另一方面卻又以他的辯才無礙使他人容易陷入對其同情的情緒，故事本身的主角或故事之外的讀者皆然。於是這樣的恐懼感不再是單純的恐懼，在本文裡，將進行對恐懼這樣的情緒的討論，以心理分析學派對恐懼的定義為根基，探討科學怪人文本中恐懼的出現，亦即，對怪物的恐懼，以及對生與死這樣的議題的恐懼，帶出人類對自我一種永不放棄的追求之心，藉由恐懼，達成自我覺醒，以成就對一個完整自我的渴望並追求之。

Women and Nature in William Faulkner's Absalom, Absalom! 威廉福克納《押沙龍，押沙龍！》女性與自然之探討

學年 / 97　學生 / Carita Wang 王宥妍　指導教授 / Bro. Nicholas Koss 康士林老師　

This thesis attempts to interpret William Faulkner’s Absalom, Absalom! in terms of Ecofeminism to examine how the patriarchal society exercises power over women and nature and to investigate how the oppressed free themselves from a patriarchal system to rebel against the master model. I will argue that Faulkner challenges the traditional dualistic paradigm of thinking to uncover the subversive power of the oppressed and to break the dualistic distinctions by embracing the concept of diversity.
This thesis consists of five chapters. Chapter One is the introduction in which I give a brief account of Faulkner’s Absalom, Absalom! and introduce ecofeminist concepts that I intend to apply in this thesis. My primary concern in Chapter Two is to examine the patriarchal model and its oppression on the disadvantaged groups in Absalom, Absalom!. By adopting Plumwood’s ecofeminist concepts of master model and dualism, I dissect Sutpen’s grand design to discover the patriarchal psyche and the dualistic world that he intends to construct and to pass on.
Chapter Three concerns the subversive power of the oppressed. I apply the connection of women and nature to disclose the disruptive power that the oppressed possess. I uncover the anti-patriarchal reaction of the feminine group and present their subversive power in terms of natural motherhood and artistic creation.
In Chapter Four, I investigate the multiplicity of Absalom, Absalom by focusing on the narrative styles and ethical analogies to present the anti-dualism that Faulkner constructs to dismantle the hierarchal dualistic thinking in the master model. The final chapter of this thesis is the conclusion.

此論文透過生態女性主義的觀點來探討威廉福克納小說《押沙龍，押沙龍！》中女性和自然在父權體制下所遭受的壓迫，以及被壓迫者有反壓迫的力量去抵抗父權體制的迫害與限制。本論文主旨在探討威廉福克納在此小說中挑戰傳統二元論呈現被壓迫者的顛覆的力量，並運用多樣性(diversity)的觀點來打破二元對立思想體系。
本文共有五個章節。首章介紹威廉福克納、文獻探討、生態女性主義的簡介以及此論文的寫作動機。次章運用Val Plumwood所提出的master model著眼於湯瑪士．薩德潘(Thomas Sutpen)的野心計畫來剖析父權體制對女性的迫害以及二元對立思想的建立。第三章從自然與女性密切的關連性來探討壓迫者擁有顛覆力量去反抗父權文化的壓迫。第四章從自然的觀點提出多樣性來分析福克納在《押沙龍，押沙龍！》中的敘述手法以及道德寓言所呈現的多樣性來採用反二元論(anti-dualism)挑戰傳統父權文化下二元對立的思考方式。末章簡明扼要重述本論文主旨並提出生態女性主義研究建議。

Paradoxes of Fusion and Fragmentation in Juxtaposed Dyads: Reconstruction of Gender Identity in Toni Morrison's Love 並置對體間融合與破碎之弔詭：論童妮．摩里森《愛》中性別認同的重建

學年 / 97　學生 / Charity, Chun-yin Liu 劉純吟　指導教授 / Dr. Joseph Murphy 墨樵老師　

Toni Morrison once said that the thing she “wanted to write about . . . [was] the most vulnerable, the most helpless unit in the society—a black female and a child” (Dreifus). In most of her books, she explores various lives of black women and girls in a hostile world of classism, racism, and sexism. Focusing mainly on the issue of black female identity and subjectivity, Morrison often portrays both how the selfhood of black women and girls becomes deconstructed and fragmented and in what ways it is rebuilt and restored. Among these entanglements and struggles, love always plays an indispensable role in Morrison’s novels. She even names her latest novel Love (2003), and she explains, “I had great fear and trepidation in naming the book ‘Love,’ because it has become such a cliche, boring, meaningless word. But it is also the most forceful human emotion that drives us to do all sorts of things” (Weaver). Indeed, we see how love makes a dear bond between two girls/women in ferment in Love, in which Morrison perplexes her readers with a dramatic black female identification. Morrison’s love is ambivalent and paradoxical. In Love, Heed and Christine were two best friends in girlhood, but soon their love becomes hatred and their attachment is severed by a patriarch, Bill Cosey, when he takes Heed as his bride. The identification between Heed and Christine fails, and their loss of love turns them to enemies.

In this thesis, I would like to prove that, in Love, Morrison uses paradoxical fusion and fragmentation, meaning there should be fusion in fragmentation and vice versa, in the relationships between both “neither-one-nor-two” juxtaposed dyadic entities, Heed and Christine. Heed and Christine’s complex relationship in fusion and fragmentation is also paralleled to the historical background of the story. In Love, a black society prospers during segregation but declines and even disappears after segregation. The community experiences a fusion in fragmentation and a fragmentation in fusion. Fusion and Fragmentation is a term defined by Page as “the idea that any entity is simultaneously unified yet divided, a whole yet an aggregation of parts” (qtd. in Page 3). I will apply his definition of fusion and fragmentation when examining Heed and Christine as a community. I believe Morrison demonstrates that reconstructing individual black female identity, Heed and Christine need to shatter patriarchy—both the external power that separates them and the internal force that causes their false self-recognition— dislocate the still and deadly world they build, and exorcise the haunted “phantom” that withers them. Then, they also need to be reunited physically and mentally so as to re-experience love and restore their selfhood. Only through such fragmentation and fusion can they reunite with the other half of self in a pre-splitting state in black girlhood, in togetherness and in love. Applying Irigaray’s theory, I view their relationship allegorically as representing the dynamics of the black female self. On a personal level, as “neither-one-nor-two” labia or two halves of the self, Heed and Christine suffer and struggle as a result of the patriarchal power that comes between them. On a social level, the labia constituted by Heed and Christine suggest a black female community that resists the dividing power of classism and sexism.

There are two main parts in this thesis: the first half focuses on deconstruction of Heed and Christine’s black female identity in their relationships from fusion to fragmentation; the latter half will concern restoration of Heed and Christine’s black female identity in their relationship from fragmentation to fusion. In chapter two, I will show how Heed and Christine are once fused and united as a juxtaposed dyad and how their relationship is described as “neither-one-nor-two.” However, their bond is soon shaken and they are “forced open” like two lips for the patriarch’s union with Heed (55). Their love turns to hatred. They are losing each other and suffer from broken self-identity. Chapter three will then begin with a turning point of Heed and Christine’s frozen relationships. In a process of fragmentation, Heed and Christine can be re-united and their love is revived, as two lips no more divided. Together they create a unitary self and reach toward a psychic wholeness. Moreover, I will also argue that Heed and Christine’s longings for love actually reveals their desire for a union and togetherness. Love is significant in their recollection of a totality.

童妮‧摩里森(Toni Morrison)曾說過：「（她）想要寫關於社會中最弱小無助的族群—即黑人女姓與孩童」(Dreifus)。她的作品常深刻地描繪在性別、種族和階級歧視下生存的黑人女姓和孩童。透過現實生活和歷史經歷的呈現，突顯作者所關注之女性身份認同以及主權的議題。這些黑人女姓與孩童，因為受到社會上多重歧視、摧殘，對自我身分失去了肯定及認同。但是讀者也可以從中發掘，其實作者仍然為這些受害的角色留下了出路和生存的空間。黑人女性與孩童在不斷地掙扎和反抗中，試圖努力重建自我認同。其中，「愛」扮演了極其重要的角色。摩里森的最新作品甚至以《愛》 (2003) 為名，她說道：「對於作品要以《愛》為名，我懷有極大的畏懼和不安，因為愛是一個陳詞濫調、無趣和無意義的字，但它也是一種最深切的人類情感，驅使我們做出各樣的行為」(Weaver)。的確，在「愛」一書中，讀者可看到愛是如何讓兩個黑人女孩或女人緊密地連結在一起，以及其中錯綜複雜又戲劇化的黑人女性身分認同過程。童妮‧摩里森所表現的愛是矛盾而弔詭的。在《愛》一書中，兩位主角留心(Heed)和柯莉絲汀(Christine)曾是孩提時期最好的朋友，但不久卻因一位父權者比爾‧柯西Bill Cosey)的介入並娶了留心為她的妻子，造成她們的愛轉之為恨，她們的情誼也因而斷絕。她們無法再相互認同來建立自我，失落的愛也將她們從摯友化為仇敵。

此論文將研討在《愛》一書中，摩里森所利用弔詭之融合與破碎，意即融合的破碎與破碎的融合，或作融合中有破碎與破碎中有融合，來呈現留心和柯莉絲汀--即「非一亦非二」(neither one nor two)的並置對體--之間的女性情誼。她們之間複雜的融合與破碎關係，與故事當時的歷史背景相呼應。在《愛》一書中，美國黑人社區因種族隔離制度而更為興盛，他們在分裂的社會中更為團結，不過在種族隔離政策結束以後，此黑人社區卻逐漸沒落甚至瓦解，亦即歷經分裂中的融合與融合中的分裂關係。融合與破碎一詞為菲利浦‧佩吉(Phillip Page)所提出，並定義為「合一卻分裂的任何實體或由各部分所組成的整體」(qtd. in Page 3)。本論文採用佩吉的定義並以此檢視留心和柯莉絲汀所組成之黑人女性群體關係。我認為摩里森從《愛》表達出黑人女性在追求自我認同的過程中，必須瓦解父權主義的力量，這力量不但來自外在的分裂，也來自內在錯誤的自我形象認同。同時，她們也必須以顛覆或錯位的方式，來敲碎他們共同建立的死寂世界，並將佔據其中的「鬼魅」驅離。接著，透過身心的合一與融合，重新體會彼此的愛並重建自我。唯有歷經這般融合與破碎的過程，他們才能真正與另一半的自己再次連結，如孩提時代時般地相愛且擁有彼此。本論文主要採用露西‧依瑞葛來(Luce Irigaray)的女性主義理論觀點，從寓意上來探討黑人女性的自身動態關係。從個人的角度來看，留心和柯莉絲汀，如同「非一亦非二」的「(陰/嘴)唇」或自身的兩半，因父權權力的插入或介入而離散；從社會的角度來看，由留心和柯莉絲汀所共構的「(陰/嘴)唇」同時也代表著一個抗拒性別與階級主義滲透分裂的黑人女性群體。

本論文主要分為兩部分：前半部分從留心和柯莉絲汀融合到分裂的關係中，探討黑人女性身分認同的解構；後半部分則從她們分裂到融合的關係中，闡明黑人女性身分認同的重新建構。第一章先概述作者與此作品的主要議題及相關評論。第二章論述留心和柯莉絲汀如何被視為融合而合一的並置對體，且她們為何擁有「非一亦非二」的關係。不過不久她們的連結即因父權者和留心的結合受威脅而鬆動，使這對形同雙唇的留心和柯莉絲汀「被迫打開」(55)。她們由愛轉恨，逐漸失去對方，在殘破的自我身分認同中日漸衰老。第三章探討她們冷淡關係的轉捩點，在一連串分裂與破碎的過程中，終於能重新與彼此緊密連結，並重拾失落的愛，她們如雙唇不再分離，兩人共同建立了合一的自我認同，也獲得精神與心理上的完整。結論中，論述留心和柯莉絲汀對愛的渴望與追尋，實際表達了她們對彼此連結合一的期待，愛則是她們重拾完整的關鍵。

Esther's Self in The Bell Jar 〈鐘形瓶〉裡的自我

學年 / 97　學生 / Sigrid Chen 陳韋陵　指導教授 / Bro. Nicholas Koss 康士林老師　

In The Bell Jar by Sylvia Plath, Esther Greenwood, the protagonist, is described as a woman who is repressed by social standards, which forces her to struggle between her true self and the self which is expected by the society when she faces her womanhood, motherhood, and her vocation. Obviously, we can see the vestiges of Plath’s life and experiences not only from Esther’s relationship with her parents but also from her sufferings. Therefore, an interesting question arises: is Esther just a fictional figure made by Plath or is Esther actually Plath herself?
Due to Plath’s famous status as a confessionalist in literature and due to many similarities between Plath and Esther, it will be taken for granted that The Bell Jar can be defined as a confessional novel. But, a confessional novel will not necessarily be an autobiographical novel. The similarities between Plath and Esther will easily mislead readers into believing that Plath and Esther are the identical person.
According to Linda Wagner’s Sylvia Plath: A Biography, we have good reason to say that Plath’s writing The Bell Jar is actually a process in which she recollects her lost fragments in the past, rebuilds her own self and finally accomplishes herself. How, however, does Plath accomplish herself? By telling her own story, or by creating a figure who can fulfill Plath in the real world? Obviously, Plath yearns for a rebirth, a clean start, and a voice for her generation in The Bell Jar, and this is the part she cannot achieve in her real life, so she bestows her expectations on Esther and Esther’s fictional self. Hence, it is not possible to simplify Esther as the incarnation of Plath herself or as a fictional figure. Therefore, in this thesis I intend to argue that Esther’s self not only has a part from Plath but also a fictional part, which comes from Plath’s expectations on herself and on this book. In Chapter Two, I will discuss the part of Esther’s self that is inherited from Plath. In Chapter Three, I will discuss Esther’s fictional self -- Joan. I think Plath tries to fulfill her wish to rebuild her self and to react to her times through creating Joan as Esther’s fictional. Through Joan’s reappearance, Plath can achieve her wish to get rid of her wound in the past and to rebuild her self. Through Joan’s suicide, Plath also can fulfill her wish to represent her times.

西維亞?普拉絲(Sylvia Plath)在其小說The Bell Jar中呈現了一個女孩如何經歷挫折,失望,而自殺,最終返回社會的一個歷程。此書的重點並不止於反應了作家當時的社會，書中亦深刻的呈現一個有抱負有才氣的女詩人，是如何在當時的社會中因為追求自我所遭遇的困境與掙扎。小說中關於女主角的母女關係，感情遭遇，精神崩潰，以致數度企圖自殺的心路歷程, 很容易讓人將之聯想到普拉斯本人的一生，因為普拉斯本人就曾在她的日誌中誠實地吐露從緊張的母女關係，頻頻遇到挫折的異姓關係，面臨在社會期待的自我和期待打破社會規範的自我之間所必須做的抉擇，以至於因為迷失自己而導致精神崩潰的心路歷程。因此,常有人認為這本小說是普拉斯的自傳。然而，這不僅止於是一本反應個人追尋自我過程的小說，書中展現更多的，是那些作用在女人身上的社會力量，一種將傳統的社會價值觀加諸於女人的社會力量，一種就連普拉絲本人都無法抗拒逃脫的力量。於是，基於反抗這股社會力量以及藉此完成自我追尋的過程的原由，普拉絲所寄託於這本書的，不僅僅是一個滌靜痛苦過去的過程，更甚者，她期望的是藉由這本書反映出當時的社會風氣以及藉由這本書來重組自我。因此，女主角埃斯特?格林威特 (Esther Greenwood) 所呈現在小說中的自我，就變得十分重要，因為普拉絲希望從埃斯特身上呈現的，不僅是痛苦的過往，還有藉由洗滌過去的重生。
在普拉絲的筆下,女主角不斷地在各種衝擊之中找尋自我的定位以及價值。她是一個有著璀璨前途的學生，但是，她卻面臨了無法認同社會以及無法認同當時的自己的困境。她形容自己就好像被困在鐘形玻璃罩下一般，被玻璃罩裡的酸臭之氣燻腐同化，最後敗壞腐爛。書裡的情結，以及主角的心情吐露，在在都印證了發生在普拉絲同時期的人事物，因此，本論文提出一個觀點，即在埃斯特的自我當中，有一部分是來自於普拉絲，並且是用以宣洩她過去的自我，並以此更貼近普拉絲實現自我的目標的一個過程。然而，書中另一個人物的出現 -- 瓊恩 ( Joan )，卻暗示著在埃斯特自我的組成份子中，不屬於普拉絲生活中的一部分的存在。因此，本論文提出另一個觀點，即在埃斯特的自我當中，另一部分是不屬於普拉絲的、屬於小說中埃斯特自我部分的存在，而這一部分是用以完成普拉絲反映當時社會風氣以及實現她重組自我的期許。因此，這部小說並不完全是自傳性質的小說，更確切的說，這部小說提到的不僅僅是個人，還有作者當時的那個大時代，以及活在那個時代之下的女人的無助與抗爭。所以，埃斯特的自我，除了有來自普拉絲的過往，還有一部分是不同於普拉絲的過往，更甚者，是普拉絲寄予更深意義的一部份 -- 為時代說話並重組自我的一部分。

Sensation, Imitation, and Selfhood in William Faulkner's Dysfunctional Sanctuary 威廉‧福克納的失常《聖殿》：從感官、模仿到真實自我

學年 / 96　學生 / Josephine, Chia-Hui Huang 黃嘉慧　指導教授 / Dr. Joseph Murphy 墨樵老師　

William Faulkner’s sensational novel Sanctuary immediately caught the attention of American readers when it was published in 1931, and Faulkner became popularly recognized as an important contemporary American writer. Although Faulkner in 1932 dismissed the novel as “a cheap idea” (v), in 1955 he made clear that he had done “everything possible to make it as honest and as moving and to have as much significance as [he] could put into it” (qtd. in Millgate 113). Indeed, the whole novel, as Henry Nash Smith notes, presents diverse features of Southerners with “visual values [...] sound and odor” (131). Within this changing, sensational world, people strive to seek their own sanctuaries and selfhood under the effect of Temple’s rape and amid the alienation and isolation of modern families and society. This thesis will focus on two levels of significance in the novel: firstly, functions of sensations, body, and mind in the development of the individual, i.e., physiological and psychological functions; secondly, the formation of wholeness by combining personal identity with social identity through marital relationships, familial relationships and social relationships.
The introduction, “From Faulkner to Sanctuary,” surveys the background of and critical debates about the author and the novel. It also clarifies historical, feminist, and psychological perspectives on “rape” and display similarities and dissimilarities between the original manuscript and the published novel. In Chapter One, “Eloquent Bodies and Inarticulate Minds Interpret the “Self”: Horace, Popeye, Temple, and Ruby,” I closely examine the process by which these four characters reconstruct their selves and deconstruct others’ selves through external sensations and inner discoveries. I use Freud’s concept of “The Uncanny” to analyze characters’ fear, which leads them back to the inner exploration of their selves; further, I apply Lacan’s concept of “The Mirror Stage” to express how characters return to the real selves through fear and through their miscomprehension of images. Chapter Two, “Fragmented Relationships in Dysfunctional Homes and Society,” discusses the three essential relationships, marriage, family, and society, which create the wholeness of self based on probing into the truth (of events). Here, many pieces of textual evidence are used to demonstrate each relationship. Moreover, I apply Eve K. Sedgwick’s idea of “homosocial desire” in order to explain that hostility and imitation among those of the same sex are also a driving force in constructing social identity. And Foucault’s definition of the subject further stresses the significance of social identity toward selfhood. In addition, I discuss themes of sexuality and power in the relationship between sexes. The conclusion, “The End of the Voyage: Sanctuary Recreated,” argues that all protagonists become fully realized and, whether alive or dead, connected to one another without barriers. All of them prove their being and existence. Their journeys to life and death in the novel conclude with Temple and her father’s visit to the Luxembourg Gardens, where Faulkner’s arrangement of nature and humanity symbolizes that the deaths of some are a new start for others. In the end Temple becomes her own sanctuary, her own “temple.”
Sanctuary brilliantly describes all kinds of sensations, including senses of sight, smell, hearing, touch, and taste. Sensations are experienced in the interactions not only between men and men but also between men and animals, and between men and plants. Within these sensations are encrypted Faulkner’s deepest knowledge of the South and its people. And as Philip Weinstein has argued, “To engage Faulkner’s cosmos is to experience a compelling subjective desire . . . for mastery—and to recognize in the fate of that desire a remapping of our place in culture, culture’s place in us” (qtd. in Towner 39). This desire for mastery is the ultimate goal of Faulkner’s protagonists and the yearning he instills in readers as well.

1931年，威廉?福克納這本充滿感官描述的小說《聖殿》一出版，隨即廣受美國民眾的喜愛，更讓福克納的聲名大噪，奠定其當代美國重要作家的地位。雖然福克納曾於1932年的一篇序言中貶低這本小說的價值，認為它所呈現的是「一個劣質的構思」（v），但是後來1995年的一場訪談中，福克納清楚地表明個人的想法，他認為自己「盡了一切努力讓這本出版的小說看起來是真誠的、感人的，並盡量添加了許多重要的元素」（qtd. in Millgate 113）。的確，整部小說就如亨利?納許?史密斯所說，表現出多元的南方人特質，處處充滿了「視覺、聲音與氣味的饗宴」（131）。身處變遷、感官的南方世界，並在坦普（Temple）強暴事件的影響下，以及現代家庭與社會的疏離與孤立中，人們努力尋找屬於自己的聖殿與自我。本論文的寫作著重兩個層面：首先，在個體成長中，感官、身體與心理的運作，即生理與心理兩層次如何使個體成長；其次，透過三種重要關係，婚姻、家庭與社會關係，來結合個人化主體與社會化主體，最後造就出一完整的自我。
前言「從福克納到小說《聖殿》」概述作者與此小說的背景以及相關評論。同時，我也闡明歷史、女性主義及心理學等觀點對於「強暴事件」的看法，並列出小說原稿與出版品之間的異同點，以釐清世人對於作品所下的定論。第一章「詮釋自我乃源於豐富的肢體表達和難以言喻的內心：何睿思、普湃、坦普和露比」則詳細檢視這四位主角，了解他們如何運用外在感官和內在發現再現自我以及解構他者。本章節運用佛洛伊德「不可思議/怪異」(“The Uncanny”)的概念來分析主角恐懼的心理，引領主角回歸自我內心的探討。進而，使用拉岡的「鏡像階段理論」（“The Mirror Stage”）觀點，分析主角如何透過恐懼和錯誤的形塑回歸真實自我形象。第二章「失常家庭與社會的破碎關係」探討極為重要的婚姻、家庭與社會關係，以及在這些關係中如何本著對於事實的探索來創造自我的整體性。在此分別藉由文本舉例說明各種關係。同時，採用伊芙?賽菊寇（Eve K. Sedgwick）的「同性社交慾望」（homosocial desire）理論，試圖解釋同性間的敵對與模仿也是一種渴望得到認同的動力。而傅柯對於主體（the subject）的定義更凸顯社會認同對於自我的重要性。此外，對於兩性關係則以性慾與權力為探討的主題。結論「最終之旅：聖殿重建」一章認為本論文已透徹了解所有重要人物，無論他們是生、是死都緊密相連，無所遁形。無論生或死，他們都已證明自己的生命價值和存在。在小說裡，所有生死之旅看似結束於坦普及其父法國行的同時，但其實不然。相反地，坦普所見的自然景象和人們具有其象徵性意義，展露一項事實，即死亡對某些主角而言是生命的終結或是欲望的滿足，但對於其他人，死亡代表的是一種新的開始。在故事的最終之時，坦普成為自己的聖殿，就如同她名字Temple所代表的涵意「神殿」。
《聖殿》對於各種感官有著絕妙生動的描繪，包括視覺、嗅覺、聽覺、觸覺和味覺等等。而這些感官經驗不僅僅發生於人與人之間的互動，更存在於人與動物或人與植物之間。這些經驗所蘊含的是福克納對於他所屬的南方世界和人民的認知。而且如菲利浦?威斯坦（Philip Weinstein）所言，「深入福克納的宇宙就像是歷經一種迫切、主觀的渴望，渴望得到主控權進而明瞭自己：渴望在文化中重新繪製自我，也期望在自我中重新定位文化的意義。」（qtd. in Towner 39）這種渴望正是他筆下主角們所追尋的最終目標，亦是我們讀者在閱讀中所得到的反響。

The Same, but not Quite: Female Stereotypes Represented by Princess and Witch Characters in Household Tales and Disney Films 一體卻非兩面：格林童話與迪士尼動畫中的女性刻板印象－以公主與女巫角色為例

學年 / 96　學生 / Ethan Yu-Chen Lin 林昱辰　指導教授 / Ms. Cecilia Liu 劉雪珍老師　

The Disney Company’s fairy tale films have stereotyped good and bad female characters identical to those found in Brothers Grimm’s fairy tales. They share identical psychological and social-historical traits that shape up female stereotypes. Those stereotypes are similarly presented in both mediums, and inevitably presented as stereotypes for the genre.
This thesis begins with an introduction for a discussion of female representation as a gender stereotype in Brothers Grimm’s Children and Household Tales, and The Introduction gives an account of the current critical trend on this genre. Chapter One examines the good and bad female stereotypes represented by princess and witch characters. This chapter focuses on famous tales, such as “Snow White,” “Cinderella” and “Sleeping Beauty” in the context of Household Tales, and illuminates the constituents of female stereotypes. Thus, Chapter One manifests why and how the female stereotypes exist in Household Tales. Chapter Two dwells on Walt Disney’s fairy tale princess films including Snow White, Sleeping Beauty, Cinderella, Little Mermaid, Aladdin, Pocahontas, Beauty and the Beast, and Mulan. The analyses start with perceptions of characters’ visual identification with the character and storyline design. Through psychological self-identification with characters’ visual performance, Disney’s princess characters become objects of desire to boys and girls alike.
Comparing constituents that shape up both Brothers Grimm’s and Disney’s female characters will reveal the fact that, when rendering literary fairy tales into animations, Disney employs identical methods Grimms used to make up their characters. The Disney Company continues the tradition of female stereotyping, and its films reflect the same underlying values found in age-old tales—with more concrete images.

在格林童話與迪士尼動畫當中皆可看見以刻板形象所呈現的好、壞女性角色。在兩種文本中，好壞兩種女性刻板角色的形塑過程，背後有著相似的心理與社會成因，因此雖然文本不同，角色的表現卻相近。然而對於「童話」文體而言，這樣的刻板角色卻是不可或缺的。本文之導論探討格林童話中的女性刻板角色再現問題，引介現今對於童話研究的主要探討，說明本文主題，以及所引用學者之理論，包括由社會、歷史角度出發之評論家Jack Zipes與佛式學派心理學家Bruno Bettelheim之論點。第一章旨在討論格林童話文本中好壞女性刻板形象的形成，主要探討角色為「公主」與「女巫」，並以最為有名的三則「公主童話」故事—「白雪公主」、「灰姑娘」與「睡美人」為主例，配合其他收錄在格林童話中，同樣以「公主」為主要角色的故事做對照，說明形成女性刻板印象的主要條件，包括「美 / 醜」、「嫡生 / 庶生」、「年輕 / 年邁」、「純真 / 邪惡」等等的條件，帶入角色與故事發展的設定中，輔以心理與社會層面的解析，以說明女性刻板形象的成因，以及為何會廣為人所認知的理由。第二章將探討文本移至迪士尼動畫中的「公主系列」電影，探討包括「白雪公主與七矮人」、「灰姑娘」、「睡美人」、「小美人魚」、「阿拉丁」、「風中奇緣」、「美女與野獸」與「花木蘭」作品當中的女性刻板形象。同樣的將探討的角色限定於「公主」與「女巫」。討論的起點由動畫中的角色設定之視覺表現與心理認同開始，配合情節與角色設計，說明童話體裁動畫與童話文學中的女性刻板角色之異同，點出迪士尼動畫中的公主與女巫有更多刻板呈現。本文最後指出，在格林童話中，女性刻板形象是當時社會對於女性所扮演之角色的投射，並反映出中、上階級加諸於女性的要求與期許，而迪士尼動畫不但承繼了這種形象的再現，變本加厲地形塑出更為刻板的女性形象，並讓此形象成為人人仿效的對象。分析好壞女性刻板形象在童話與動畫中的成因，將有助瞭解為何童話中的公主所呈現的刻板形象對於大眾文化具有如此遠大的影響，並提供解讀童話時的參考。