碩士論文

Art of Survival in The Sun Also Rises: Dialectics of Morality and Love in the Face of Disillusionments 幻滅世界的生存之道：海明威《旭日又升》中倫理與愛情的辨證

學年 / 96　學生 / Evelyn, Yi-Chih Sung 宋怡緻　指導教授 / Bro. Nicholas Koss 康士林老師　

This thesis on The Sun Also Rises, through the dialectics of morality and love, attempts to attest to the reconciliation of morality and love as the ultimate art of survival in the face of disillusionments. Chapter One explores the factors that gave rise to the Lost Generation, including the development of science, technology, psychology as well as the outbreak of WWI. I also investigate Hemingway’s expatriate experiences. For me, his reaction to them reflects a spirit of living without ever being perpetually defeated in spite of disillusionments. Chapter Two illustrates the disillusionments of the characters in The Sun Also Rises, including the disillusionment of the love of Jake and Brett; the disillusionment of war as a holy cause for Jake and Mike; the disillusionments caused by the shifts of values regarding money, religion and love; and the disillusionment that results from the invisible threats of death and nothingness.
Chapter Three analyzes the arts of survival of Count Mippipopolous, Bill, and Romero in the face of individual predicaments and, more importantly, the gray zone in their arts of survival. Each of them comes to terms with their individual predicament: the count through things he can buy and the limited pleasure that his condition allows; Bill by appreciating the blessings of Nature and being self-disciplined and hard-boiled; Romero by pushing himself toward the embrace of death again and again to live life fully. They either objectify women or remain as a disinterested spectator and a na?ve man when the question of romantic love arises.
Taking the gray zone (the complexity of individual morality) as a transition, in Chapter Four, I elaborate on how Jake and Brett carry out a spirit of sacrifice and possess the rare awareness of one’s limit that helps to put into practice the idea of letting go. They therefore develop a new morality embodied with the paradox of love, which infuses passion, tenderness, and warmth into the toughness, hardness, and stiffness in the old morality. By exploring the complexity of individual morality and love, and their relativity, I have found a less solitary and rigid way of survival for Hemingway’s heroes and heroines.

本文旨在探討海明威筆下的角色，在面對種種人生困境時，如何持續抱存希望、樂觀生活。全文自個人倫理(自身)與愛情(他者)兩相衝突的角度切入，主張惟有個人倫理和愛情間衝突的消弭，為各角色面對人生困境、賦予殘缺以完整的良方。
第一章探討構成「失落的一代」的遠因與近因，以及海氏對自身所處之時代背景所做出的回應。「失落的一代」的產生，原因龐雜，可溯至十九世紀、二十世紀初以來，科學家、學者在自然科學、心理學、科技等各領域的革新。各領域的革新賦予人們新知與便利的生活，卻也相對地突顯出人類的渺小與愚昧，並衝擊著許多人們所深信不疑的舊觀念。新與舊的衝突，醞釀出一種「幻滅」的社會氛圍。一次世界大戰的爆發，更使二十世紀初以來逐漸醞釀的「幻滅」氛圍，一舉躍上檯面，遂使一九二O年代的美國社會，普遍為「幻滅」的氛圍所籠罩。然而，當時正值青壯年的海氏，不僅不輕易為「幻滅」所擊垮，反訴諸寫作，一心一意企圖展現其不輕易向困境低頭的情操。
第二章探討海氏以愛情與戰爭為主題，藉由小說人物金錢觀、宗教信仰、愛情觀等的轉變，將「幻滅」的氛圍完整詮釋於《旭日又升》一書中。本章檢視書中人物受創的戰後心理;達爾文和佛洛依德的理論如何動搖書中人物對上帝的篤信和對愛情的推崇；科技的發展如何影響海氏筆下人物的金錢觀。另從形上學的角度，檢視死亡和虛無對書中人物的影響。雖然書中人物對死亡和虛無的恐懼，使得他們對自身的存在意義產生不確定感，然而，正也是此種不確定感，促使他們不斷地探尋與發掘自身的存在意義。
第三章從自身出發，探討Count Mippipopolous, Bill, Romero面對自身困境的因應之道，同時檢視個人生存之道中的灰色地帶。三者固然在致力於克服自身困境時，皆展現海氏十分推崇的「於壓力煎熬下依舊力持優雅」與不輕易向困境低頭的精神，但三者因應自身困境之生存之道，一經愛情檢視，種種如物化女性、遊戲人間、對女性之刻板印象等缺點與衝突，便一覽無遺。
第四章因此從象徵他者的愛情關係出發，以前章個人生存之道中的灰色地帶以及個人生存之道與愛情的衝突為基礎，延伸探討Jake 和Brett在面對自身困境時，除了展現前章所述「於壓力煎熬下依舊力持優雅」與不輕易向困境低頭的精神，亦同時具備對他者的關懷。此種關懷，促使兩人實踐愛情中難能可貴的奉獻精神，亦展露常人少有的自知之明，故能看清自身的極限與缺陷，而在與他人相處時，給予他者全然的自由與空間。

False Justice and/or True Injustice!? The Contradictions of Binary Perceptions of The Contemporaneous Dualities in Shakespeare's Measure for Measure 非關正義！？莎士比亞「一報還一報」二極共生交錯對立共存的認知背離與觀點矛盾

學年 / 96　學生 / Ally, Ya-Li Chang 張雅麗　指導教授 / Dr. Margarette Connor 康慕婷老師　

The divine right of kingship, the king’s two bodies, and Machiavelli’s theories are three major streams of political conceptions in Renaissance England. In terms of the writing of Shakespeare’s play, there were three crucial incidents between 1602 to 1604, and all of them had a theme in common: kingship. The first incident was the publication of an English version of “Anti-Machiavel” in 1602; the second was “The Golden Speech of Queen Elizabeth”; the last was the two editions of King James VI of Scotland’s (later James I of England) Basilikon Doron. Measure for Measure is the first Jacobean play by Shakespeare, and this study is an attempt to set this play back into the context of its own time, the transitional period between the final days and the death of Queen Elizabeth and the coronation of King James in order to understand the conceptions of kingship and the connection to Machiavelli’s political theories in his writing The Prince, which is the foremost reference in this paper, to discuss the dynamics of the co-existence and contradictions of binary perceptions in Measure for Measure. This disguised-duke play explores that the indefinite environments shift viewpoints constituting the inequity between the ruling class and the ruled class, the conflict between personal interests and public interests, the discrepancy between the intention and the fact, the ambiguity between truth and deception, the inconsistency between the public performance and private ambition, the interdependence between cause and effect, and the paradox between justice and injustice.

本論文跳脫倫理道德之藩籬，重新閱讀「君王論」，審視其非關道德之政治論述，以結果論為論證基礎，探討個體利益與公共利益無法同時達成之衝突，評估政治權術之運用與社會及司法正義之間的歷史意義。透過馬基維利之「君王論」，探討其政治論述對伊莉莎白一世與詹姆士一世當代政治觀之影響。以莎士比亞「一報還一報」此劇為本，分析正位元首與代位元首兩造之間的權力移轉對社會秩序所造成的影響。藉由正義與不正義二元對立的命題，提出主張，不同的觀看位置產生觀看主體與客體之間微妙的角色互換，重覆角色變換，角色重疊，並進一步加入社會體制、階級、身份與律法制度等元素，而產生多元、多層次、多向度的主客體關係。社會正義、司法公正、政治正確、歷史定位；主客體隨著環境條件之轉換，而其離散游移的對立關係，再無法以單一的二元論述解釋之。本劇領袖巧妙運用各種政治操弄與策略，並將人性納入權術策略工具之列，藉代理制度解構權力中心，形成虛位元首之表象，實則架空代位元首，收其正位元首最高權位之效。而其政治判斷與策略運用，併以司法體制運作，確實達成恢復社會秩序之目的，重建父權霸制權力中心，鞏固其領袖地位與實權。

“READER, I married him”: The Relations between Jane Eyre’s Self-determination and Social Mobility in Light of Being a Governess 「讀者，我嫁給他了」: 從女教師的觀點探討簡愛的自我抉擇與社會流動的關係

學年 / 96　學生 / Carol, Ya-Lin Chi 紀雅齡　指導教授 / Bro. Nicholas Koss 康士林老師　

Based on the perspective of being an English governess in the nineteenth century, my thesis is concerned with the mutual relations between social mobility and Jane’s self-determination. Jane Eyre’s life not only resembles the life and predicament of being a governess in the nineteenth century but also reveals how her self-determination is related to social mobility.
This thesis is divided into four chapters. In Chapter One, in addition to introducing my motives for writing this thesis and reviewing different-sided criticism, I also explain the definitions of governess, self-determination and social mobility and their mutual relationship. Chapter Two mainly focuses on the historical background of English governesses in the first half of the nineteenth century. The background can help us understand why the view of being a governess can be applied to examining Jane’s life and the motivations and ways of Jane’s decisions. In Chapter Three, I explore why Jane’s self-determination and social mobility interact with each other. In fact, the relations between Jane’s self-determination and social mobility portray three periods. The first period happens in her childhood, due to her economic weakness. At this time, the power of social mobility is stronger than that of her self-determination. The second period takes place when she starts to make money. Her choices also begin to affect her social position. At last, after she inherits a fortune, the power of social mobility is less than that of her choices. In Chapter Four, I summarize the main points of the previous chapters and indicate the room for the further studies. My thesis only discusses the relations between Jane’s self-determination and social mobility. However, the perspective of being a governess still can be used to compare and contrast the dilemma of being a governess in Jane Eyre and of being a teacher in Taiwan. Another possible topic for further study is to compare and contrast how Becky Sharp in Vanity Fair and Jane differ from each other for earning a place in society in terms of being an English governess.

本論文以十九世紀英國女教師的觀點探討簡愛的自我抉擇與社會流動之間的關係。闡述簡愛的人生不但反映出十九世紀英國女教師的生活與所遇到的困境，並且也表現出她的自我決定與社會流動有密切的關聯。
本文共分成四章。第一章的導論除了介紹研究動機與相關的文獻探討之外，也說明女教師、自我決定和社會流動三者的定義與相互關係。第二章主要著重在十九世紀前半葉英國女教師的歷史背景。藉由詳細的女教師背景簡介，才能夠了解簡愛的一生實際上都能用女教師的觀點檢視的原因。此外，也才能發現她的自我決定的動機與方式。第三章主要論述簡愛的自我決定與社會流動之間的互動。除了討論影響簡愛社會流動的原因之外，也說明社會流動與簡愛的抉擇的關係如何呈現三種不同階段的互動。第一階段發生在簡愛的孩童時期，因無謀生能力，所以此時社會流動的力量遠大於自我決定的力量。當簡愛有謀生能力時，為第二階段的開始，而她的自我決定也開始影響其社會地位的改變。第三階段是在簡愛獲得遺產之後，她的自我決定的力量超過社會流動的影響。第四章的結論摘要前幾章的重點，並指出這本小說尚可討論的空間。本論文只著重簡愛的自我決定與社會流動關係的探討，然而女教師的觀點，仍可用於比較簡愛與台灣教師所面臨的困境或是比較簡愛與《浮華世界》裡的貝姬?夏普如何以不同的方式找尋屬於自己的一席之地。

Quest for the Integrated Identity through Deciphering Myths and Symbols in Sam Shepard's Family Sagas 追尋身份認同：解讀山姆‧雪柏家庭劇中的神話及象徵意涵

學年 / 96　學生 / Amy, Jing-Yi Yang 楊靜怡　指導教授 / Ms. Cecilia Liu 劉雪珍老師　

Sam Shepard, one of the avant-garde American playwrights, provides different and broader views on self-identities of American individuals with surreal dramaturgies. Later in his family plays, Shepard changes his dramaturgies towards realism or naturalism, and identity searching has been presented not only through cultural aspects but also through family bonds. Under the contemporary society, Shepard’s nostalgic writing in searching for a stable and integrated identity reveals how American individualism have been manipulated by pop culture, and how they perceive accumulated and fragmented identities. In family plays, Shepard yearns for a sense of belonging which can be denoted as a kind of identity searching. Hence, this study aims to discuss the identity searching in Sam Shepard’s family plays. By interpreting the myths of American West, the first chapter aims at True West to discuss how Shepard presents the rotten American culture which has been manipulated by the mass media, and how American individuals like Lee and Austin accumulate their social identities through the media-distorted images, such as cowboys and pioneers, which have led them to the destruction. The second chapter aims at Curse of the Starving Class and Buried Child to discuss how male individuals search for an integrated identity by tracing back to their family roots. However, what individuals perceive in the family ties is only a circulated male identity and a degenerate patriarchal power which have run for generations in man’s lineage. The third chapter focuses on A Lie of the Mind to probe female autonomy and independence. I the light of Lucy Irigaray’s theory, this chapter discusses how Shepard’s female characters search for their integrated self-identity and how male characters search for their unified identity through the relationships with women. In my conclusion, I will argue that Shepard’s characters do not re-gain a stable and integrated self-identity at the end of the play even if they undergo a mysterious transformation.

美國當代知名劇作山姆?雪柏對美國文化及個人的身份認同有獨到的探討及剖析。在早期作品中，雪柏透過超現實的手法呈現美國人對於自我認同的一種不安全感，批判美國人如何受大眾文化影響而導致身分認同的混淆。而在其晚期作品中，雪柏的創作手法逐漸趨向寫實主義，不僅透過社會文化層面來探討，更是透過家庭及「根」的追溯來呈現身份認同的議題。本論文透過山姆?雪柏的四部家庭劇—《真實西部》、《烈火家園》、《葬子》、《心靈謊言》來檢視雪柏如何架構自我的身份認同，並從其中找尋一種對生命的歸屬感及穩定性。第一章藉由《真實西部》分析美國西部神話是如何影響美國社會文化的價值觀及意識型態，而這些神話又是如何被當代的大眾媒體所扭曲，造成個人在現實與虛幻世界間游離，最後導致他們走向自我衝突及毀滅之途。第二章以《烈火家園》及《葬子》來探討男性的家庭成員如何藉由父子間的血緣關係來追尋自我，然而經過一連串的權力鬥爭，最後新一代的年輕男性成員所承傳的身份認同也只是一個逐漸衰敗的父權空殼。第三章藉由露西?伊蕊格萊對女性自主意識的分析來探討《心靈謊言》中女性對自我身份認同的追尋，及男性如何透過女性來重新架構他的自我認知。藉著這三種不同的自我追尋方式，山姆?雪柏筆下的角色在迷途中，紛紛踏上了身份追尋之旅，試著從中尋找真義。

From the External to the Internal: The Relation between Recurrent Image(rie)s and Identity Crisis in Willa Cather’s My Antonia 微拉．凱瑟《我的安東尼亞》：外在重複意象與內在自我認同危機

學年 / 96　學生 / Lynn, Yu-Ling Tzeng曾于綾　指導教授 / Dr. Joseph Murphy 墨樵老師　

As Willa Cather maintains, “The higher processes of art are all processes of simplification. The novelist must learn to write, and then he must unlearn it; just as the modern painter learns to draw, and then learns when utterly to disregard his accomplishment, when to subordinate it to a higher and truer effect.” (“The Novel” 48-9). What is essential is “the inexplicable presence of the thing not named” (50)—that “is there to the reader’s consciousness as much as if it were in type on the page” (Cather, On Writing 102). Whenever reading Willa Cather’s novels, especially her Nebraska prairie novels, one is moved by the simplicity of the language and yet the beautiful fusion of a poetic and prosaic style. Giving the free rein to the subject itself, the story grows naturally as the life-giving, internally powerful prairie; and the language and art merely serve as a medium.
In Willa Cather’s work, nature and landscape play a very important role. Spending her childhood in Nebraska, Cather was very familiar with the unique Nebraska landscape and scenery, which she portrayed realistically in her writing. As Elizabeth Shepley Sergeant sees, “The detail of it never stands out obtrusively in the Nebraska novels, but it is there, like her authentic knowledge of flowers and trees. Weather, too, she knew like a farmer” (Memoir 153). My ?ntonia, published in 1918, Cather’s fourth novel, has been considered her best, for it can be seen as “almost an epic of Nebraska” (Sergeant 153). H. L. Mencken wrote, “My ?ntonia is not only the best novel done by Miss Cather, also one of the best any American has ever done” (qtd. in Sergeant 108). Sergeant asked, “Was My ?ntonia then […] a real turning point of literary maturity, when encouragement or criticism from without became irrelevant?” (158). My understanding is that Cather did not only have literary achievement, but with the novel, she had undergone a personal growth of dealing with the difficult moments in life with ease and wisdom.
In Book I of the novel, brought to the Nebraska prairie, Jim, the child, is close to the colourful and intrinsically powerful nature. In his narrative, he is most concerned with the change of weather along with different seasonal colours and images, corresponding to his mood. As he grows up, Jim, however, gradually loses his childhood vision—the ability to perceive the beauty of nature, for he is forced to enter the (Lacanian) Symbolic world. Although in Book II Jim still struggles to remain in the lost childhood, in Book III he encounters his Oedipal development. Interestingly, it turns out that it is his maturity that enables him to look back upon his early life and the lost happy and innocent childhood through the old, affectionate images, and deal with the ambivalence of growing-up with relief. In Book IV and especially Book V, while he is aware that he is a grown-up, he still wishes to recreate the colourful visual images so as to keep tight hold of the lost childhood.
The purpose of this thesis is to investigate Jim’s internal response to the recurrent external images that appear in the three stages of his life by examining the deliberately repetitive patterns of the novel; for instance, the seasonal cycles, colour imageries, natural, stagnant/artificial images, and part of human bodies or gestures as images. Secondly, to discuss Jim’s obsession with childhood images, such as the colourful nature, his country houses, windmills, pond, and so on, which reflect Jim’s psychological change in addition to his physical growth.
Chapter one of the thesis will examine Book I of the novel: Jim as a child on the prairie. I will discuss Jim’s childhood vision and perception, i.e., his intuitive response to the colours of nature and significant images in the country, such as his house and the surrounding. The dominant colours that bring out the major landscapes and sceneries, however, create strange effects, a polarisation and a bizarre harmony of the bright and the dark, the light and the shadow, the hopeful and the mournful, and life and death. This is not only successful in characterisation, but in thematic presentations as well. As the images of the country serve as essential landmarks in his childhood life, the remains will still be kept and repressed carefully in the unconscious after he grows up.
Chapter two will study Jim’s changing vision and psychological growth accompanying his physical maturation in Books II and III. As he moves to the town with his grandparents, Jim is forced to accept the (Lacanian) Symbolic and Oedipal phase. In order to reflect that Jim by and by loses his childhood vision, different from most chapters in Book I, Cather opens Books II and III with social issues about the town, study, marriage and social affairs, instead of beginning with the season, the weather, and the colourful scenery of nature. Nevertheless, readers are able to sense that Jim strives to indulge himself in the past through similar images of his childhood. For example, he lingers in Mrs. Harling’s house, where he can find the reproduction of the old images: garden, windmill, farm, orchard (102). And there he meets “?ntonia” again; together they recreate the lost childhood with the Harlings’ children. Jim makes it very clear that the image of the Harling house is like the painted glass of the church (119), filled with so much colour, symbol of childhood that attracts him like a magnet in the dull winter (dreary social world). However, Jim’s wish of retaining in the colourful childhood is often interrupted by the horrible shadow—the dark side of social reality. Besides, what Jim fears—the Oedipal growth—does come, no matter he likes it or not.
Chapter three will deal with how the adult Jim, in Book IV and V, faces and gradually accepts the fact that he and ?ntonia have already “grown up,” reflected by the changing imagery of the country. Sharon O’Brien points out that Cather has two “hateful distinctions”: first, the male and the female roles, assigned by Victorian society and imposed in adolescence; second, the childhood and adolescence (96). Adolescence means the step towards adulthood and the rejection of childhood. In Book IV, Jim is a young man who just leaves adolescence and walks into early adulthood; and he would only be able to face ?ntonia’s sexuality and maturity after he has undergone his. In the end, the image of the prairie turns out to be a symbolic looking-glass that reflects Jim’s growth and change. Moreover, I would like to argue that the unploughed part of the prairie in fact represents the unconscious area in Jim’s mind, i.e., the pre-Oedipal continuity.
Finally, in my conclusion I will argue that Jim’s journey to self is complete, as he eventually discovers that if he wishes to learn his present self, he must know his old, past self. It is through ?ntonia Shimerda, the symbol of the country and the earth-mother, that he searches for his lost self, i.e., his natural, young self.

微拉．凱瑟曾說過：「藝術的較高境界是所有過程的簡化。小說家必須學習寫作，然後接著他必須忘卻他所學的；這就如同現代畫家學習繪畫，然後又學習何時應完全地忽視他的才藝，以使作品達到更高層次及更加真實的效果。」而這是因為凱瑟認為比起直接用文字來描述，作品應呈現給讀者的是「那無需指出且為難以理解的感覺」，以使讀者自己去用心體會，來引起他們的共鳴。因此，當讀者在閱讀凱瑟的作品時，尤其是她的草原三部曲時，經常會為她那獨特的簡單化的語言以及美妙的散文式與如詩般之熔合的寫作手法所感動。事實上，凱瑟常會讓她作品的主題去自由發展，所以故事本身就如同那充滿生命力的草原，而語言或藝術手法則因為簡單化的過程本身便只成為媒介。
在凱瑟的作品中，大自然與風景是極為重要的。因在內布拉斯加州度過她的童年時光，凱瑟對內布拉斯加草原的獨特景色是非常熟悉的，而這又經常是她作品中的寫實主題。凱瑟的好友沙金特曾說：「雖然在凱瑟的內布拉斯加小說中，枝微細節並不是很突出的，可是那些的確是存在的；就如同凱瑟對於那些花朵及樹木的知識是真實的。而她對於天氣也如同農夫一樣的瞭解。」《我的安東尼亞》，出版於1918年，為凱瑟的第四本小說，且被公認是凱瑟最好的作品。因為就如沙金特所評論的，《我的安東尼亞》真可以幾乎說是一部寫「內布拉斯加州發展的史詩。」麥肯曾經寫道：「《我的安東尼亞》不僅僅是凱瑟所寫過最棒的作品，這也是美國作家們的作品裡最為優秀的小說之ㄧ。」沙金特同時也問道：「《我的安東尼亞》對凱瑟而言真的是一個轉捩點嗎，因為不管是鼓勵或批評對作家本身已變的不再重要了？」我個人的認知是《我的安東尼亞》不只使凱瑟達到文學修養上的成熟，且同時她也藉由此部小說來尋找她自我的成長以及如何輕鬆地用智慧去處理人生中的難題。
在《我的安東尼亞》的第一章裡，敘述者吉姆為一位非常接近那色彩繽紛且充滿生命力的大自然的小孩。吉姆於他的故事裡很關心天氣、季節色彩及意象的變化，且經常會將它們與自己內心的心情變化作相關聯結。但是，當他慢慢長大後，吉姆漸漸地喪失了他童年的想像力──也就是擁有可以用最單純的感覺去認識大自然之美的能力，而這是因為他已被強迫進入成人的社會世界。雖然在小說的第二章，吉姆仍然有掙扎，並希望可以留在他那已流失的童年時光，當讀者進入第三章時，我們發現吉姆將會面臨他的成長。而有趣的是吉姆正是藉由此成長去幫助他重新面臨他所遺失的單純且快樂的童年生活與他所遺忘的那些以往曾經為再熟悉不過的意象；同時他也學習如何去面對成長過程中的矛盾與挫折。在第四章，尤其是第五章裡，吉姆已意識到他自己已是一位成年人，但同樣地，他仍然殷殷期盼自己可以重建那些有著生動色彩的視覺意象，以緊緊抓住那已然悄悄走開的童年。
本論文旨在探討吉姆內心對於那些在他生命中三個階段（童年、青少年期、與成年期）中重複出現的外在意象的反應，因此將會仔細分析小說中重複出現的模式，比如季節的循環、色彩的意象、自然的意象、固定出現的外在意象、以及部分身體的特徵的意象等。此外，也會分析吉姆對那些意象過度著迷與重視的意義，以討論這些重複的外在意象對於吉姆生理上及心理上的成長的重要。
本論文的第一章將會專注於分析小說的第一章，以探討吉姆的童年。因此將會討論吉姆的童年想像力與感受力，也即是他對於外在意象（包含大自然與其他意象，如房子等）的最直接的反應。而那些帶出景色的重要色彩意象卻也創造出奇異的效果──明亮及黑暗、光明與影子，有希望的與憂傷的之極化與合諧，且這些反映於角色性格描寫以及主題的呈現是非常成功的。而且這些意象在吉姆成年後仍然繼續成為留在吉姆心頭的重要印象。
第二章則以小說的第二及第三章去研究吉姆的青少年時期，來討論他的心理上及生理上的轉變。當吉姆隨著祖父母搬至城鎮時，他也同時進入了成人的社會世界，而為了呈現此變化，凱瑟經常以城鎮的社會新聞來作為開端，更近一步取代了那些吉姆過去所熟悉的豐富色彩及自然意象。但是當吉姆再次和他的童年玩伴安東尼亞成為鄰居後，他們又再度一起尋求童年的一切，雖然他們的確意識到他們必須面對改變與成長。
第三章以小說的第四及第五章來更加深入分析重複意象為吉姆的成年期帶來的影響。在小說的第四章裡，吉姆是一位青年人，且在認識並接受安東尼亞的成長後，吉姆終於可以面對自己也需成長的事實。而在小說的最終，整個草原就如同一面鏡子般的忠實地映照出吉姆的成長與改變。更重要的是，草原裡那片未開墾的土地卻正是可以幫助吉姆召喚那些熟悉的意象的地方。
最後，在結論中提出吉姆尋求自我的過程是完整的，並且的確有正面的成長。而這是因為為了達到了解自己的目的，吉姆必須回到過去去找回他所失去的舊的自我（也就是那最自然、單純的童年的自我與童年玩伴安東尼亞所象徵的意義），並將其與現在及未來的自我相結合，以找到一個完全的自我。

Domains of Horror: Spatial Identity and Narrative Resolution in Edgar Allan Poe's Tales 驚悚國度：愛倫坡故事中空間與角色的特質分析

學年 / 96　學生 / Andrea, Yi- Hsueh, Wu 巫宜學　指導教授 / Dr. Joseph Murphy 墨樵老師　

Edgar Allan Poe remarkably creates the effects horror in his tales. By arranging the settings, these horrific effects further project the protagonists’ inner worlds. This thesis aims to examine the interrelationship between the characters and their surroundings. By scrutinizing four types of spaces, the following analysis will reveal that the environmental features not only oppress the protagonists, but also reflect human beings’ mental responses toward what they have encountered.
Chapter one focuses on spaces of confinement in “The Premature Burial” and “The Pit and the Pendulum.” Concealed settings are able to overwhelm the protagonists with horror. Nevertheless, the horrific effects are not entirely negative; instead, they evoke human beings’ positive responses against the spatial oppression and then breed strength out of them.
Chapter two scrutinizes the gothic architecture in “The Fall of the House of Usher” and “Ligeia.” The contradictory decorative features enhance the inhabitants’ inner fears. Unlike the characters who overcome their surroundings in the previous chapter, the protagonists in this chapter fail to identify their connection with the architecture. Therefore, they indulge deeper in the spatial impacts that lead them to death or insanity.
Chapter three explores the city scenes in “The Murders in the Rue Morgue” and “The Man of the Crowd.” The city scenes, on the one hand, shelter crimes and secrets. On the other hand, the settings provide clues to the protagonists so that they are able to discover the unsolved crimes and hidden secrets, which later project the characters’ mental ability.
Chapter four analyzes the ocean in “A Descent into the Maelstrom.” The natural environment is portrayed as ferocious and ambivalent. The sailor suffers from death threats in the whirlpool; however, the spatial oppression does not only produce desperation, it also brings him hope through his admiration of nature, which leads him to survival.

愛倫坡的短篇故事中充斥著引人入勝的驚恐情節。透過安排故事當中的空間場景，這些驚悚的效果更進一步揭露主角們的內心世界。本文企圖透過分析四種不同的空間來探討愛倫坡故事中的環境特質不僅只是壓迫著各個角色，同時也反應出人類對於恐懼所產生的心理反應。
第一章將探討《活埋》和《陷阱與鐘擺》兩則故事中密閉空間對於角色們所製造出來的恐懼。然而，這些恐懼效應並非全然是負面的，相反地，他們引發了人類對於空間壓迫的抗拒並進而從中產生積極的力量來面對。
第二章將檢視《亞夏家古屋的崩塌》與《莉姬雅》當中的哥德式建築物。其中衝突性的裝飾特質則加深了主角們內心的恐懼。不若第一章的主角們得以克服外在環境的壓迫，本章角色無力去透視自己與建築物之間的關係。因此，深信屋子所帶來的影響而導致自己的死亡或瘋狂。
第三章將探討《莫格街的謀殺案》與《人群中的孤人》中城市帶來的意象。一方面來說，城市隱藏著罪惡與秘密。另一方面而言，空間場景則提供了線索讓主角們得以識破並解決罪惡與不可道出的秘密，同時也反應出角色本身的分析能力。
第四章分析《墜入大漩渦》當中自然帶來的衝擊。故事中的水手承受伴隨大自然而來的死亡威脅，然而，透過景仰自然的能力，水手反而從絕望當中得到了希望與救贖。

ACTIVE LOVE, LOVE OF INTEGRITY AND CHASTITY: THREE COMPONENTS OF THE SHULAMMITE MAIDEN’S CONSTANCY OF LOVE IN THE LOVE STORY OF THE SONG OF SOLOMON 積極主動、忠誠與貞潔：《雅歌》中的書拉密女子對愛情持之以恆、始終如一之三要件

學年 / 96　學生 / Andrew, Hua-Mao Hsieh 謝華貿　指導教授 / Bro. Nicholas Koss 康士林老師　

The Song of Solomon mainly depicts the romantic relationship involving the main characters: the Shulammite maiden, her beloved shepherd lover, and King Solomon the suitor. Its powerful portrayal of the exquisite quality of mutual love between the shepherd and his lovely Shulammite maiden marks The Song of Solomon for its unique place in the Biblical canon.
The main reason why I am interested in this love story of The Song of Solomon is its poetic illustration of the beauty of what an enduring and constant love can and should be. The Shulammite, the protagonist in the story of The Song of Solomon, has been recognized as an active girl in her pursuit and expression of a mutual love for her beloved shepherd lover, and her faithfulness and loyalty as well. By carefully analyzing the account from the standpoints of this unnamed maiden, we may find that there are arguably three influential components in the Shulammite’s attitudes and action in her rejecting King Solomon’s advances, while anticipating her shepherd lover at the same time, that is: her active love, love of integrity and chastity. These three components of action actively and deeply influence the Shulammite’s self-consciousness in the pursuit of her beloved lover.
In Chapter Two, I will discuss one of the discernible aspects of the Shulammite’s existing constancy of love, namely, her active and positive love emotion towards her shepherd lover since she’s a child. Besides finding inducible textual evidence from the verses of The Song of Solomon, I will also probe into the causality of why and how the Shulammite’s active love has become one of the crucial elements behind her attitudes towards a love relationship with someone she has fallen in love with. I too will define and discuss how the active love of the Shulammite maiden functions as motivator and can produce “self-conscious love devotion” to the shepherd lover.
In Chapter Three, I will examine how the resolution of Shulammite maiden’s love of integrity fortifies her unbridled tender affection and passion available only to the shepherd lover, while, simultaneously, also allowing her to maintain a high standard of physical, moral, and spiritual cleanness. In probing into the Shulammite maiden’s love of integrity, this morally-pervasive aspect of the Shulammite maiden’s existing constancy of love, with reference to the findings of textual evidence from the verses of The Song of Solomon, I will also discuss the causality of how the Shulammite maiden’s developed love of integrity.
In Chapter Four, I will examine how the chastity of the Shulammite maiden is basically the core of this love poem, the incorruption of the integrity of her love will eventually result in ‘moral dignity’: the manifestation of oneself as a person who deserves moral respect. The Shulammite maiden never trades in her chastity for a few moments of sexual gratification. Quite the contrary, she always holds on to her moral dignity and refuses to be mistreated, abused and especially humiliated when it comes to the values of chastity. And the Shulammite’s staying chaste, despite her intense love for the shepherd lover, does more than help herself avoid dire consequences.
By analyzing the Shulammite maiden, with reference to the comparison and contrast of various English versions of The Song of Solomon to see which translation bring out best what I take to meaning of the Shulammite maiden, we can be assured that these components not only explain why the courtship between the Shulammite maiden and the unnamed shepherd lover could succeed, but also rationalize how the three intermingled components lead to the glorious heights of union with her beloved lover.

《雅歌》的內容出於對話的形式。對話的人物主要有以色列的君王所羅門、牧羊人及他的愛人書拉密女子。這本書強調一個感人的主題─書拉密女子對牧人情郎的愛情。由於《雅歌》對書拉密女子與牧羊人之間那種堅貞高尚的愛情作了有力的描寫，這種獨有的特色使得本書在聖經中的正典地位備受確立。
書中的女主角書拉密女子所表現的忠貞不二、始終如一的愛的確歷久如新，價值永在。書拉密女子對牧人情郎表現出的這般主動熱切、無可動搖的忠貞之愛，令人印象深刻。為了深入了解及加深對書拉密女子的體會，本文將從積極主動、忠誠與貞潔這三方面的論點來探討書拉密女子如何證明她對牧羊人堅定不移、能夠經得起考驗的愛情。
第一章旨在探討書拉密女子的愛情觀是既積極又主動的。藉著細心查考分析《雅歌》書中的篇幅章節，得以瞭解女主角對愛情的這種積極主動如何敦促激勵她個人切切想念心上人，進而對牧人情郎表現出渴望能夠長相廝守的戀慕之情。
第二章將著重於論述書拉密女子情有獨鐘、堅定自持的愛情觀。類似地，藉由細心分析《雅歌》裡篇幅章節與對照上下文，瞭解到女主角這種緊守忠誠的原則之愛不但強化她個人不因試探或引誘就移情別戀，同時她的道德力量和堅強的信心也令她看來更加美麗動人，無可取代。
第三章則是闡述《雅歌》書中的核心信息。《雅歌》表明真戀人的貞潔無瑕之美。書拉密女子的這種真愛是永不能征服，永不消失和永不能買得的。縱使她感情豐富、積極主動，她的感情卻是基於純潔堅貞的思想，與行為相輔相成的。書拉密女子這種貞潔自律的美德表明自己已成熟穩定、潔身自愛。
最後，本論文歸論，藉著分析及歸納書拉密女子的愛情觀與榜樣，可以確信積極主動、忠誠與貞潔這三要件不但使得未婚男女彼此更親近，更能為將來建立恆久的親密關係，有情人終成眷屬。

Searching for the Mothers in the Dark: A Study of the Mother-Daughter Plots in Jean Rhys’s Voyage in the Dark and Wide Sargasso Sea黑暗中尋找母親：談珍．瑞絲的《黑暗中航行》及《夢迴藻海》之母女情節

學年 / 95　學生 / Gretchen, Kuei Fen Lee李桂芬　指導教授 / Dr. Kate Chi-wen Liu 劉紀雯老師　

This thesis aims to read and analyze the mother-daughter plots in the first and the last of Jean Rhys’s novels, Voyage in the Dark and Wide Sargasso Sea, which present Rhys’s perspective on and individual concerns about the mother-daughter relationship and its effects on the daughter’ sense of identity. Relying on Marianne Hirsch, Evelyn O’Callaghan and Carolyn Rody, my analysis of “mother” has twofold interpretations. Mother means both the social mother and the psychical mother: the absence of the social mother intensifies the traumatic impact of the psychical mother on the female protagonists. In addition, mother also means mother-island in my analysis. Compounded by the socio-historical backgrounds of race, gender, class and nationality, Rhys’s mother-daughter plots are usually entangled, seemingly ending with madness or falling in a vicious circle. However, I will argue that the daughters, with their preoccupation with her Caribbean “mothers,” are not completely passive, not to mention suicidal or mad. Rather, they struggle for survival in the patriarchal and colonial society.
Chapter One discusses the seemingly passive and unresistant Anna in Voyage in the Dark, with the intention to show what she actually manifests are constant efforts to fight against the recurrent threat of death. She is not completely unresisting as she goes through the series of losses. Instead of assigning her an easy role of passivity, this chapter examines Anna’s complex emotions and traces them to an underlying cause: her separation from the mother, mother surrogates, and the motherland. Chapter Two examines how Antoinette in Wide Sargasso Sea strives to defend her mother as well as herself and tries to free herself from the various forms of confinement. Through an analysis of Antoinette’s development, which is a series of oscillation between isolation and attempts at understanding and “socialization,” this chapter shows that the development of both the mother-daughter relationship and Antoinette’s personality in Wide Sargasso Sea interact mutually with her economic predicament, as well as social pressure, racial turbulence, and patriarchal dominance to form a mother-daughter plot of fatality and estrangement, against which the daughter finally attempts a breakthrough. The concluding chapter attempts to suggest that Rhys, through her literary creation with artistic vision, is not only one of the Caribbean women writers, but also a literary mother for the Caribbean literature.

《黑暗中航行》及《夢迴藻海》分別是加瑞比海女作家珍．瑞絲最初及最終的文學創作。本論文旨在分析這兩本小說中的母女情節，以詮釋瑞絲自身對於母女關係的觀點及其文本內所呈現母親對女兒身份認同的深遠影響。因為瑞絲自身的離散經驗，她在小說中舖陳出的社會脈絡及歷史背景往往糾葛著種族、性別、階級及國籍等議題，使得其間的母女情節格外複雜，不同於理論家瑪莉安．赫許所爬梳的英美文學傳統。因此本論文除了依據赫許對文學中母女關係的論述外，另外借重艾芙琳．歐克拉罕及卡洛琳．洛迪所架構的理論，分析「母親」於文本內的兩種意義：母親的角色同時具有社會面及精神面的意義，同時也代表著文中離散主人翁的「母土」。女兒因為失去「母親」所帶來的精神創傷，反映出了母、女之間的特殊情感聯結。失去「母親」卻又心懷「母親」的女主角們陷入困境，表面上看起來或是瘋狂失控，或是淪入惡性循環中。然而本論文認為她們並非全然順服，更不見得是發狂或自我毀滅。她們於父權控制的殖民社會中力求生存。抵抗之力或許微弱，但不容忽視。
論文第一章針對《黑暗中航行》，討論主人翁安娜的母女情節。早年喪母及離鄉的她，看起來隨波逐流，但實際上卻是極力、不斷地抗拒死亡陰影籠罩的反覆威脅。第二章則是檢視《夢迴藻海》中安東妮特與母親的關係。安東妮特對於母親的冷淡及疏離有著成熟地體諒，她試圖為自己及母親辯護，也努力嘗試掙脫層層有形及無形的桎梏。終章則回顧及總結以上論點，並試圖為作者瑞絲定位。或許她的作品有著濃重的自傳色彩，或許她以英語發聲、久居歐陸的身份曾讓她不被認同為加勒比海女作家。然而瑞絲將自身的女性經驗及流移失所之感化為創作題材，?生出的文學創作有著其特殊的藝術視野，瑞絲應可被視為加勒比海文學之母。

Mother-Daughter Relationship and the Daughter's Search for an Integrated Self: An Object Relations Reading of Margaret Atwood's Lady Oracle 母女關係與女兒對整合之自我的追尋：以客體關係理論論瑪格麗特．愛特伍之《女神諭》

學年 / 95　學生 / Sarita, Wan-Chun Chung 莊琬君　指導教授 / Dr. Kate Chi-wen Liu 劉紀雯老師　

Lady Oracle is Margaret Atwood’s third novel in my view, stands as a transitional work in her treatment of the issues of mother-daughter relationship and daughter as female artist. In Atwood’s corpus, it is the first novel in which the daughter’s growth as an artist is discerned from her childhood to early adulthood. What looms behind the daughter’s creative process is her relationship with her mothers –her biological mother and her surrogate mother, from whom the novel’s heroine, Joan Foster, learns the stereotypical image of female beauty and the constraints imposed upon women in the patriarchal society.
This thesis is particularly concerned with the mother-daughter relationship and its influence on the daughter’s psychological development. Specifically, it examines not only Joan’s battling with her mother over her body in the domestic field, but also her interpersonal relationships in her social arena and her creative process. Based on object relations theory, especially Margaret Mahler’s concept of symbiosis, Melanie Klein’s concepts of phantasy and paranoid-schizoid position, and D. W. Winnicott’s idea of transitional phenomena, this thesis argues that Joan’s development through self-splitting, enactment of multiple roles, to finally performing a ritual of death and re-birth denotes first the daughter’s prolonged symbiotic relations with the mothers, escapes into fantasies, and then her gradual realization of the mothers’ limitations and the stereotypes imposed on her. Moreover, it is through creative activities that a genuine understanding of the constraints both mother and daughter share is achieved, and Joan herself is empowered to reject some of the stereotypes.
In the introduction of the thesis, I first place Lady Oracle in the context of literary history of female writer’s writings on mother-daughter relationship and then explain the reason why this novel is transitional in Atwood’s corpus. Joan’s paradoxical relationship with her biological mother and her difficulties in rejecting her mothers make this novel an interesting contrast to the preceding women’s texts on mother-daughter plot. Published in 1976, Lady Oracle echoes the multiple voices from mothers, daughters, and female artists since the second wave feminism and anticipates the growth of female artists in Atwood’s later novels. The first chapter draws on Margaret Mahler’s concept of symbiosis and Melanie Klein’s concepts of phantasy and paranoid-schizoid position to explicate Joan’s fight against her mother over the control of her body and her gradual separation from her mother. Joan’s fight is interlaced with an unconscious desire to be fused with the mother, yet maternal and social rejection and her attachment to the surrogate mother later push Joan toward mother-daughter separation and split selves. The second chapter deals with Joan’s adulthood, especially her relationships with men and her growth as an artist. During her adulthood, she is still haunted by her dead mother and her past. With the help of D. W. Winnicott’s ideas of transitional phenomena and potential space, the second chapter argues that by engaging in creative activities, from fantasizing, role-playing to writing, Joan, on one hand, learns to maneuver her interpersonal relationships in accordance with patriarchal values, and on the other hand, moves from divided selves to an integrated self during the creative process, which not only empowers her to reject some stereotypes on women, but also leads to new understanding about her mother. Finally, in the conclusion, I explain how the development in object relations theory, from Klein to Winnicott, helps me structure the analysis of Joan’s development. If Joan is able to reject stereotypes on women through the potential space she creates in writing, with the ambiguous ending of Lady Oracle, Atwood opens up another potential space for us readers.

《女神諭》是瑪格麗特．愛特伍的第三本小說。本論文認為這本小說在愛特伍處理母女關係與女兒身為藝術家的議題上，有過渡性的地位。在其著作中，愛特伍第一次詳細描繪女性藝術家由童年至早期成年期的成長。《女神諭》的主角瓊?佛斯特之創作歷程深受母親影響，包括親生母親與代理母親。透過這兩位母親角色，瓊內化了女性美的刻板形象及父權社會加諸於女性的種種限制。
本論文主要探討此小說呈現的母女關係及其對女兒的心理發展之影響。除了分析瓊與母親對瓊的身體之控制權的爭奪，也檢視瓊在家庭場域以外的人際關係與創作歷程。本論文以客體關係理論為依據，特別是瑪格麗特．馬勒的共生觀念，梅蘭妮．克萊恩的無意識幻想與偏執─類分裂心理位置，以及D. W. 溫尼考特的過渡性客體與現象，認為瓊的心理發展﹝由自我分裂、多重角色的扮演至最終的儀式性死亡與重生﹞彰顯她與母親的延長共生關係，之後逃避至幻想情節，卻能逐漸瞭解母親所受的限制及瓊被賦予的刻板形象。此外，透過創作過程，瓊獲得力量得以拒絕這些刻板形象。
首先，本論文之引論嘗試將《女神諭》與女性作家關於母女關係的文本作比較，將其放置於母女關係文本的歷史脈絡中，並解釋為何此小說在愛特伍的小說作品中具有過渡性的地位。與此類早期文本比較，《女神諭》之特殊性在於瓊與母親的矛盾關係及她抗拒母親的過程中所遭遇之困難。此小說亦呼應第二波女性主義之後來自女性藝術家的多樣化聲音，並預示愛特伍中、後期小說中女藝術家的成長。第一章引用瑪格麗特．馬勒的共生觀念及梅蘭妮．克萊恩的無意識幻想與偏執─類分裂心理位置，分析瓊對母親欲操控她身體的反抗，以及她如何逐漸脫離母親。瓊的反抗過程其實包含對共生關係的渴望，然而母親與社會對她的排斥將她推向母女分離及類分裂自我。第二章探討瓊的成年期，尤其是她與男性友人的關係與藝術家身份的發展。瓊的心理仍無法擺脫母親和她童年的影響。依據溫尼考特的過渡性現象與潛能空間觀念，第二章闡述藉由創造性活動，如幻想、角色扮演和寫作，瓊一方面學習如何在父權社會操控她的人際關係，另一方面在創造過程中，類分裂自我逐漸邁向整合。藉由創造過程，她不但能抗拒某些加諸於女性的刻板形象，也對母親及女兒均面對的困境有新的認知。本論文之結論除了解釋由克萊恩至溫尼考特的客體關係理論之轉變如何對應本論文之結構，亦以潛能空間觀念，詮釋此小說模棱兩可的結局；此小說的結局亦是愛特伍為讀者開啟的另一潛能空間。

On the Way to Motherhood: Mother-Daughter Relationships in Jane Austen’s Fiction 母親塑型:珍．奧斯汀小說中的母女關係

學年 / 95　學生 / Viola, Chen-Hsiu Ou 歐貞秀　指導教授 / Bro. Nicholas Koss康士林老師　

This thesis explores development of mother-daughter relationships in Jane Austen’s novels. From Northanger Abbey to the last novel Persuasion, Austen’s heroines manifest Nancy Chodorow’s theory of motherhood. Heroines in the beginning identify themselves with their mothers. Then, when they are aware that their mothers can not satisfy them of ideal mother images, heroines tend to establish their own identity. Heroines finally form individuality and possess their maternal identify.
Chapter One examines mother-daughter-symbiosis in Northanger Abbey and Sense and Sensibility. In these two novels, Catherine Morland and the elder Dashwood sisters are not conscious of difference between subject and object. In other words, they can not distinguish self and the other. Catherine and the Dashwood sisters in mother-daughter integrity act as extension of their mothers’ maternal identity, imitating feminine and maternal identity similar to their mothers. In the second chapter, individuation and separateness are the focus to explain maternalization of Jane and Elizabeth Bennet. As Jane and Elizabeth recognize conflicts between their mother and a mother they long for in their identification with their mother, they refuse to be in a relationship of mother-daughter oneness. During their searching for sense of self, Jane and Elizabeth project ideal mother images on their surrogate mother Mrs. Gardiner and, meanwhile, introject ideal mother images on themselves. Also, Jane and Elizabeth manipulate their father’s patriarchal power to separate from Mrs. Bennet’s maternal control. Chapter Three presents Austenian ideal feminine and maternal personality. Exemplifying Fanny Price’s education in Mansfield Park, Austen criticizes conventional motherhood and, moreover, implies her ideal mother figures. Meanwhile, it is inferred that fathers or those who possesses patriarchal power can intervene in daughters’ learning when daughters can not be conformed or be educated propriety and virtues by their mothers. The final chapter of Emma and Persuasion explores heroines’ maternal behaviors and mother-daughter re-union. Emma Woodhouse behaves as a mimesis or “retro” of her absent mother, symbolizing that she is still suffered from mental trauma of her absent mother. In contrast, Anne Elliot shows her maturity in motherhood, which means that Anne re-unites her identification with her mother and her individual maternal identity.

本文旨在探討珍．奧斯汀小說中女主角們和其母親的關係演變。從<<諾桑覺寺>>到最後一本書<<勸導>>，奧斯汀小說中的女主角們應證了蘭西．雀朵洛的母職理論。她們先是認同母親，逐漸察覺母親本身並不能滿足她們對母親形象的要求，繼而建立起有別與母親的自我認同，最後塑造自身的母親認同。
本文第一章探討在<<諾桑覺寺>>和<<理性與感性中>>的母女共生關係。在這兩部小說中，凱瑟琳．莫蘭和達什伍德兩姊妹並沒有主客體的認知。她們已內化成為其母親女性認同中的一部分；也就是說，在母女一體的關係中，女兒其實是母親的延伸，複製與她們母親並無貳致的女性與母性特質。第二章則著重於在<<傲慢與偏見>>中珍．貝內特與伊莉莎白．貝內特的個體化過程。在珍與伊莉莎白發現母親形象與她們所渴望的相衝突時，她們已意識到她們並不屬於母親認同的一部分。在找尋自我認同的過程中，珍與伊莉莎白一方面渴望找到代替她們母親的理想母親，一方面希望自身也能成為稱職的母親。藉由認同父親而得到的權力，她們逐漸脫離母親的控制，建立自我。奧斯汀的理想女性及母親特質是第三章的討論重心。奧斯汀藉由范妮．普萊斯在曼斯菲爾莊園裡的教育成長抨擊傳統母親塑型，並闡述了她理想中的母親形象。同時，當女兒在母女關係中無法獲得認同以及適當的教導時，父權的介入有助於女兒在德性上的發展。最後一章則是探討艾瑪．伍德豪斯和安妮．艾略特在<<艾瑪>>和<<勸導>>中的母親行為以及統和母親和自身的母親認同。艾瑪的行為表現反應出她仍然生活在去世母親的陰影下，不成功的揣摩著母親行為。和艾瑪相反，安妮的成熟表現象徵她跨過對母親的心結，統和母親認同。她既是母親的女兒也是她未來孩子的母親。

Abjection and Transgression: A Psychoanalytic Reading of Mina Loy’s Avant-Garde Poetics 抑斥現象與僭越界線：旻娜‧洛伊前衛詩學之精神分析學式閱讀

學年 / 95　學生 / Carol, Yi-Wei Lin 林依薇　指導教授 / Dr. Joseph Murphy 墨樵老師　

This thesis examines how Mina Loy's poems, including “Parturition” (1914), “Love Songs” (1917), and some of her late poems (1942-1949), deal with physical extremes—states of the infantile, corporeal, and unconscious—in which energetic resources of the human psyche can be restored and used to transgress the predetermined social order and identity. Based on Julia Kristeva's discussion of the abject and the semiotic chora in representational practices, this thesis characterizes Loy's avant-garde poetics as a dynamic one that is rooted in the body, the borderline between debased corporeality and further sublimation. Her usages of uncoded and destabilizing images and sign language deconstruct the established rules of social and literary convention, and resituate the position of self as subject to both external environmental powers and internal unconscious forces.
The introduction briefly begins with Mina Loy's personal history and her neglected status as once highly-praised modernist poet. The necessity of rediscovering her works is urged by poets of different generations, but her nonentity in the contemporary literary history proves her conscious refusal to be categorized and the difficulty to posit her poems in any single way. Following the explanation of my argument, methodology and the basic thesis structure, chapter one focuses on the depiction of the abject maternal body in “Parturition” that suggests an in-between state of the speaking voice as neither complete subject nor object, connecting to violent bodily movement and drive energies at birth. Chapter two particularly emphasizes on Loy’s most controversial poetic implication of the thirty-four-poem sequence “Love Songs.” Consulting with Lacan's elaboration of human psyche and Kristeva's theories of the semiotic chora and poetic language, the second chapter engages on the signs of bodily waste and sexual difference, the abject against which various social and individual taboos are erected. Loy’s “language of want, lack” exposes the inadequacy of conditioned expectations set up by social and literary conventions in intersubjective relationships. Chapter three specifically presents and discusses four of Loy's late poems “An Aged Woman,” “Photo after Pogrom,” “Moreover, the Moon───,” and “Chiffon Velours” that even Loy’s scholar Carolyn Burke has been dismissive of. This last chapter attempts to explore these poems of witness and vision as a stepping beyond the stripped, rotten body and beyond the corpse, into a mystical existence. Loy in her avant-garde writing achieves not only transfiguration of the abject and sublimation of the unclean elements, but also reaches a poetic transcendence that accommodates both self and other, sacred and profane, presence and absence.

本論文主要研究美國現代詩人旻娜?洛伊(Mina Loy)不同時期的詩作〈分娩〉(“Parturition”)(1914)、〈致尤韓那斯之情歌〉(“Songs to Joannes”)(1917)、〈衰老的女人〉(“An Aged Woman”) (1942)、〈大屠殺過後的相片〉(“Photo after Pogrom”) (1942)、〈此外，月亮───〉(“Moreover, the Moon───”) (1942)、〈雪紡絲絨〉(“Chiffon Velours”) (1942)之中所探索的抑斥現象和僭越界線。洛伊的前衛詩學建立於她對肉體存在以及物質性如何影響形塑人類(潛)意識和社會化認知有絕對性的著墨，和心理分析學派的基本假設不謀而合。此研究立論於茱莉亞?克莉絲蒂娃(Julia Kristeva)在《恐怖的力量：論抑斥現象》(Powers of Horror: An Essay on Abjection)中對各種被合乎體統的社會主體所懼怕並加以排拒的抑斥之物——包括不潔的食物、流動的體液排泄物或者是接近死亡的屍體——的定義詮釋與影響延伸，並結合她關於前衛文學在突破既有象徵系統書寫上，挪用母體符號空間(semiotic chora)動能驅力的觀點。在克莉絲蒂娃的理論以及心理分析的脈絡下，洛伊的詩作藉由破碎斷裂甚至記號韻律性的語言來描繪種種不為世俗接受甚至反社會的抑斥之物，反而呈現出一種前所未有的文字能量和僭越潛力，不僅淨化陳說了令人趨避的忌諱，更昇華直指被賤斥的肉體、模糊疆界中，潛藏的秘密存在與精神性。
內文共分為三個章節，加上導論和結語。導論除了簡介洛依的成長背景、藝術養成以及論文的主要觀點與架構，旨在強調她今昔對比的文學能見度和重新挖掘其作品的必要性。第一章討論洛伊在〈分娩〉形構多重意識的寫作過程。藉著寓意性分娩中的母體意識，也是克莉絲蒂娃理論下在社會化過程中首先被抑斥之物，重構詩作中的實體自我，來探究詩作的曖昧主體性。此作品描繪激烈的母體律動與遊走主客體邊緣的意識，並穿插打破現有窠臼的多元並存意象，進而呈現作者試圖擺脫父權意識形態陰影，僭越傳統女性形象的企圖。第二章將被抑斥的探討擴大到〈致尤韓那斯之情歌〉中赤裸揭露的性愛產物以及兩性差異。洛伊顛覆文學典律，把向來從男性角度發聲意淫的浪漫情詩，扭轉為從女性立場看待的寫實愛慾和餘波反省。刻意地使用突兀不連續的句法描寫浮不上檯面的性愛高潮細節與體液性徵存在，這部包含三十四首的爭議組詩諷刺了一統一致性社會典範和言談書寫的不足，並暴露掩蓋賤斥肉體物質存在的殘忍與危機。除此之外，〈致尤韓那斯之情歌〉實踐了克莉絲蒂娃關於母體符號空間的闡釋，開發出破折號、留白等抽象視覺語言的豐富意義。第三章接續洛伊藉由被抑斥之物所探索出的文字能量和僭越潛力，檢視在她後期詩作中進一步被昇華的肉體與被僭越的疆界。〈衰老的女人〉、〈大屠殺過後的相片〉、〈此外，月亮───〉、〈雪紡絲絨〉等詩呈現凋零、破敗、腐壞、消失的軀體和屍體，然而透過文字的見證淨化以及洛伊超越性眼界的洞察和視野，我們所看到的不只是侷限於有形的物質或語言，而是另一種超脫現世現實，中間性的無形存在。結論試以洛伊在上述作品中透過抑斥現象和僭越姿態所發堀的主體性，語言實驗性以及文學性為題，用以重新理解、詮釋她持續不斷躍進超越的前衛詩學。

Call and Response, Passing and Integration: The Musical Structure of Jean Toomer’s Cane 呼喊與迴響，流動與整合：吉恩．圖瑪之《甘蔗》的音樂性結構

學年 / 95　學生 / Chris, Cheng-Hsuan Wu 吳塵軒　指導教授 / Dr. Joseph Murphy 墨樵老師　

Jean Toomer’s Cane is an important work in African American literature. The book has a special place in the Harlem Renaissance because its structure transcends literary categories or any unifying principle by gathering different genres—poetry, narrative and drama—and different settings of the South and the North into three separate sections. The black musical tradition is a central element of Cane as the structure of the book is woven of blues repetition, jazz improvisation and the call-and-response pattern to voice black people's unspeakable sorrows and deep emotions. In my thesis, I examine the musical structure of Cane to study how Toomer adapts the music elements of blues and jazz—repetition, improvisation, and call-and-response—as his aesthetics to depict the vitality of black folk culture and conflicts of the color line in American society.

I divide my thesis into three chapters, in which I explore how the musical structure defines and enhances each section of Cane. Part 1 of Cane takes place in Georgia and contains six narrative sketches of six women and ten poems interspersed among the sketches. In Chapter One, I examine how Toomer blends the generic forms of narrative and poetry with the blues structure of repetition and the call-and-response pattern to delineate the rural experiences of black people. Part 2 has five poems, four narratives and three prose poems, and the setting moves from Georgia to Washington, D.C., and Chicago. In the progression from the rural South to the urban North, the musical transformation in Part 2 is also forcibly changed from blues to jazz. Toomer's elaboration of jazz improvisation to adumbrate the new dilemmas of black people in the middle section of Cane is discussed in Chapter Two. “Kabnis,” an one-act play, thematically relates Parts 1 and 2 through a story of a Northern black man on his journey to seek the meaning of his identity in the South. In Part 3, the drama combines musical and dramatic structures to present characters’ the striving for survival and fulfillment. In Chapter 3, I emphasize how Toomer imbues the musical structure into the dramatic form of “Kabnis” to describe the protagonist Kabnis’s search for the meaning of his African heritage.

Memory, Where the Nightmare Begins: The Process of Stephen Dedalus' Subjectivation 記憶, 惡夢之始: 斯提芬‧戴達羅斯主體化的過程

學年 / 94　學生 / George, Chih-Hsien Hsieh 謝志賢　指導教授 / Dr. Li-ling Tseng 曾麗玲老師　

From A Portrait of the Artist as a Young Man to Ulysses, Stephen Dedalus has been resisting the dominance of the official history and thus he isolates himself from society to freely create his art and self. Isolating himself from the public to reject history as he may, he cannot avoid facing the personal memory imprinted in his body. He may be able to question the result of a historical event and thus free himself from the dominant history, but he cannot change his own past. His feeling of loss is also resulted from his attitude toward his memory and writing, both of which influence his perceiving of his self. In my thesis, with the application of Michel Foucault’s theory of self writing to analyze Stephen’s development from A Portrait to Ulysses, I argue what Stephen is afraid of is not history, but his memory, and the reason Stephen fails to attain his salvation through art and thus to get his desired freedom is resulted from his refusal to face his personal history, i.e., his memory.
I divide my thesis into four chapters, and in each chapter, I analyze Stephen’s development of the selfhood in different stages as well as the relation between his writing and his attitude toward memory. In Chapter One, I focus on Stephen’s development in A Portrait. In Chapter Two, I shall first solve the problem of the stylistic difference between A Portrait and Ulysses to have an overview on Stephen’s development in the two novels and thus to begin my analysis of Ulysses. In this chapter, I shall focus on the “Telemachiad” episodes: “Telemachus,” “Nestor,” and “Proteus.” In Chapters Three and Four, I bring Bloom into my analysis. In Chapter Three, I focus my analysis on “Aeolus” and “Scylla and Charybdis,” in which Stephen presents his two other writings: the Parable of Plums and the Shakespeare theory. In Chapter Three, I also make the comparison between Bloom and Stephen to show their differences of facing memory, language, and the self. In Chapter Four, I shall move my analysis to “Circe,” the most complicated chapter of Ulysses. In “Circe,” an episode of the stage performance, both Bloom and Stephen encounter their past on stage. Nevertheless, while Bloom faces his own past and transforms his self from an infant to a man and to a woman, Stephen still refuses to face his memory and is always Stephen, and when Stephen fails to transgress his limit and runs away from his vision of his mother’s ghost, Bloom actualizes the possibility of his life in his vision of his dead son.

自《青年藝術家的畫像》至《尤里西斯》，主人公斯提芬?戴達羅斯（Stephen Dedalus）為了其藝術創造及自我發展的自由，便一直抗拒正史的鉗制，且將其自身與整個社會隔絕開。斯提芬以遺世絕俗來否定歷史，卻仍無法否定存在他體內的記憶；他能質疑歷史事件的結果，卻無法改變自己的過去。其失落感也來自於對記憶及書寫的態度，而這兩者亦影響斯提芬對自我的認知。本篇論文將以米歇爾?傅柯的自我書寫理論來分析斯提芬自《畫像》至《尤里西斯》的成長，並主張斯提芬最恐懼的並非歷史，而是記憶，而他之所以無法藉由藝術得到解脫及自由，正因他拒絕面對其個人的歷史，換言之，他的記憶。
　　本論文共分四章，每一章將分析斯提芬在不同階段的自我發展及其書寫與記憶的關係。第一章是針對斯提芬在《畫像》一書的發展。第二章前半部將首先分析《畫像》及《尤里西斯》兩部小說文體風格的差異，藉此對斯提芬在這兩部小說的自我發展做一概述，並以此點題開始文中對《尤里西斯》的分析。本章所分析的是《尤里西斯》前三章：〈帖勒馬可斯〉、〈奈斯陀〉，及〈普羅提斯〉。《尤里西斯》的另一主人公布魯姆也將在本論文第三及第四章被討論。第三章首先將分析斯提芬在〈艾奧羅斯〉及〈斯奇拉及克瑞彼底斯〉所發表的《李子的寓言》及其關於莎士比亞的理論；後半部分將會比較布魯姆及斯提芬兩人對記憶、語言，及自我等議題的差異。本論文最末章將分析《尤里西斯》中最複雜的一章─〈瑟喜〉。〈瑟喜〉一章以戲劇表演來呈現其內容，而兩位主人公的過去也將在舞台上演出。當布魯姆面對自己的過去且變化成嬰兒、成人，和女人，斯提芬仍不願面對自己的記憶且毫無變化；而當斯提芬終究無法踰越其自我的界限，並逃離他對亡母的幻覺，布魯姆藉其夭亡之子的幻覺中實現了生命的可能性。

Fragmentation and Hybridity of Self-Identity in Salman Rushdie's The Ground Beneath Her Feet 魯西迪《在她腳下地面》中自我認同之分裂與混雜

學年 / 94　學生 / May, Zi-Hui Su 蘇子惠　指導教授 / Dr. Kate Chi-wen Liu 劉紀雯老師　

Salman Rushdie in his novel The Ground Beneath Her Feet examines the positive and negative aspects of globalization after the colonial empires collapse during World War II. After arriving U.S. for “a better place,” the Indian immigrants are treated as celebrities as well as the “uncivilized Others.” The earthquakes also suggest immigrants’ uneasy fear of fragmented self-identities.
This thesis uses Fredric Jameson’s theory of postmodern consumer society instead of Homi K. Bhabha’s colonial discourse. The willingness of the Indian second generation immigrants to absorb the dominant culture further produces the multiculturalism and the fragmentation of their self-identities. Their American Dream withholds their Indian identity and their costume change act becomes a weird and temporary disguise of the globals such as Ormus and Vina. Rushdie indicates the difficulty for the locals to leave their homeland. However, the mobility of the globals cannot solve their fragmented identity anxiety in this world. Ormus and Vina take invisibility as a resistance strategy and fail in the end, but the narrator Rai attempts to establish a link with local residents and successfully constitutes a globalized family.
Rushdie intentionally relegates Eastern and Western gods to subordinate roles in the novel, but the Indian celebrities ironically become victims under the consumer society of commodity fetishism. On February 14, 1989, Salman Rushdie was forced to fly away because Khomeini’s fatwa was like a catastrophe which undermined his life security. The ground beneath Rushdie’s feet was shaky and snatched away without precaution like the plight of contemporary celebrities.

薩爾曼‧魯西迪在小說《在她腳下地面》中藉由魔幻寫實手法，以移民角度重新檢視殖民主義崩潰後的全球化世界。宗主國的本土居民對待二次大戰後湧入的外來移民，普遍懷抱疏離冷漠的心理，或將來自世界各地的移民妖魔化，或轉化成高高在上的名人神話，崇拜與仇視的兩極反應於焉產生，如同邊境地震接續不斷發生，反映出移民和居民共同對千禧年末世論調的恐懼不安。
後殖民批評家Homi K. Bhabha曾提出殖民雜種文化（Hybridity Culture）、擬仿（Mimicry）及第三空間（The Third Space）等論述，解構殖民／被殖民、西方／東方、強勢／弱勢等二元觀念，本論文同樣探討小說邊緣書寫的意義，不同點在於套用詹明信（Fredric Jameson）等人的後現代消費社會理論，重新檢視魯西迪在全球化浪潮下，如何重新定位他的文學作品。
小說中移民和本土居民所想像的東方和西方，其實都是不存在的空間。移民想像的家園和西方不存在，自我身分認同遂被迫產生分裂和混雜。第二代印度移民的美國夢，讓他們自願隱去印度母國身分認同，變裝以突顯個人能力。再者，Vina、Ormus和Rai等人同時具有「移動性」（mobility），換言之即是移動的自由，他們是「全球人」（globals），他們的上一代是「在地人」（locals）。Ormus和Vina抵達美國後，均採取隱形（invisibility）手段作為一種抗拒策略，導致自我認同因此淪喪；Rai企圖與本土居民產生連結，成功組織全球化家庭。
魯西迪有意識的讓東西方諸神在小說中退居次要角色，有色人種名人取而代之，卻淪為消費社會底下商品拜物教（commodity fetishism）的犧牲品。追溯回1989年2月14日，魯西迪被當時回教領袖何梅尼下令追殺，追殺令（fatwa）也是表現地震的一種抽象形式。他筆下名人的處境，正好映照出他自身和當代名人不約而同的困境。

Willa Cather's My Antonia: A Critical Reading and Translation 維拉凱瑟之《我的安東尼亞》：評論與翻譯之探討

學年 / 94　學生 / Martin, Su Bo Tung 蘇柏同　指導教授 / Bro. Nicholas Koss 康士林老師　

Willa Cather’s fourth novel, My ?ntonia, was published in 1918. Although the novel did not bring her immediate success then, it is her best-known novel and won her international reputation as one of the best American writer in the twentieth century. Set in Nebraska, the novel tells of a story of the struggling life of a Bohemian immigrant family in the mid-west America. Jim is the narrator of the story, and by rebuilding his friendship with ?ntonia, his childhood playmate in Nebraska, in the middle of his life, he tells in this novel all he can remember of his childhood, his friends, and everything that is relating to this foreign girl.
The thesis has seven chapters. In the Introduction, I will explain why I chose this novel and why I wanted to translate it. In Chapter I, I will have a brief introduction of Cather’s life and the historical context of the novel. Chapter II will be focused on the exploration of the relationship between the two main characters, Jim and ?ntonia. In Chapter III, I will introduce the theories I applied to my translation and, besides, a general survey of the problems of Tang Xinmei’s translation of the novel, which is so far the only Chinese translation I can find in Taiwan. In Chapter IV, I will discuss the difficulties I encountered in the process of translation. Chapter V is a brief introduction to my translation of this novel. The last Chapter is my Chinese Translation of this novel.

《我的安東尼亞》出版於1918年，是維拉凱塞的第四本小說。這本小說雖然沒有立即讓她立萬揚名，但日後卻成為她最為知名的一部作品，且為她贏得了國際的聲譽，亦讓她成為20世紀美國最出色的作家之一。故事背景為美國中西部的內部拉斯加，講述著一戶波西米亞移民如何在美國西部開墾，最後苦盡甘來的故事。故事敘事者為吉姆。在他中年時，與兒時在內部拉斯加的玩伴安東尼亞重拾情誼，因而再這本《我的安東尼亞》?，記下了安東尼亞讓他所回憶起的孩提歲月，以及和他們一起度過的種種人、事、物。
本論文分為七個章節。在導言中，我說明為何我選擇了《我的安東尼亞》作為我論文的題材，以及為何我決定著手翻譯這本小說。在第一章?，我簡單介紹維拉凱塞的生平，以及《我的安東尼亞》背景資料與小說中之歷史元素。第二章將探討《我的安東尼亞》中主人公吉姆與安東尼亞兩人的關係。在第三章中，我介紹本論文所應用之翻譯理論，以及探討目前我在台灣唯一找到的中譯本，湯新楣所譯《原野長宵》當中的一些問題。在第四章，我將討論我在翻譯過程中所遭遇之困難。第五章為筆者所譯之《我的安東尼亞》的簡介。最後一部份為筆者的譯本﹕《我的安東尼亞》。