碩士論文

Power “Wrestling” in Chinua Achebe’s Anthills of the Savannah －The Roles of Intellectuals in the Modernization of Post-Colonial Africa 權力的角力：論後殖民非洲現代化過程中知識份子之角色—以其努．阿契比之《荒原上的蟻丘》為例

學年 / 94　學生 / Joyce, Tzu-Ling Chen 陳姿伶　指導教授 / Dr. David Yu 余盛延老師　

More than twenty African countries became independent around the 1960’s. After the Western colonizer’s departure, what remained there with African people were the distorted tradition and over-exploited natural environment. Although African people rejoiced over their independency, their ideal democratic government was still a castle in the air. People could not live in peace because of serious domestic problems such as poverty and the conflicts between different ethnic groups. Civil wars or military coup d’etats happened at times, and thus every regime did not last long. In Anthills of the Savannah, the Nigerian writer Chinua Achebe ingeniously adapts the historical events that happened in Nigeria for the plot of the novel and points out “the trouble with Nigeria.”
According to Edward Said’s research on the intellectuals in the Third World and Frantz Fanon’s postcolonial discourse, I would like to analyze the roles of African intellectuals in the modernization of post-colonial Africa. After receiving advanced education in the West, when these (been-to) intellectuals return to their native country, they take different attitudes toward native culture and the indigene. The ways they (are forced to) choose to (re)identify themselves suggest not only “who they are” in the unstable political surroundings but also determine the future of their countries.

二次世界大戰後，非洲大陸上掀起以?一個國家、一個憲法、一個命運?為口號的獨立運動。數十個國家紛紛於六零年代宣告獨立。殖民者離去後，留下歷經幾何切割的族群文化及被掠奪過度的資源陪伴歡欣鼓舞的非洲人民慶祝獨立。隨著獨立而來的並非穩定祥和的民主政治，而是一連串諸如貧窮與種族衝突等內政問題。不穩定的政權在軍閥與政客的手中輪流把持，時時有爆發政變或內戰的可能。
本論文將根據艾德華?薩依德對知識份子的研究及法蘭茲?汎農為主的後殖民論述來剖析奈及利亞作家其努．阿契比的小說《荒原上的蟻丘》。作者透過取材自奈及利亞史實的事件，描寫一群接受過西方殖民國高等教育後返回母國的知識份子；我將探討這群知識份子面對非洲現代化的過程及身處不穩定的政局裡所（被）選擇的角色以及他們所（重）建構的身分認同。

“You are free to reinvent yourself”: Margaret Atwood’s The Blind Assassin as a Feminist Historiographic Metafiction 『隨心所欲、重建自我』：瑪格麗特．愛特伍德之女性歷史後設小說《盲眼刺客》

學年 / 94　學生 / Christine Yi-Hsiu Hsieh 謝怡秀　指導教授 / Dr. Kate Chi-wen Liu 劉紀雯老師　

This thesis examines how Margaret Atwood’s novel, The Blind Assassin, is a feminist historiographic metafiction in which Iris, the protagonist, achieves self-assertion and builds female bonding, and how it serves as a resistance to public discourse, especially in terms of the official history-writing. Based on Linda Hutcheon’s definition and discussion of the genre, historiographic metafiction, and combined with it a postmodern feminist point of view, this thesis argues that Iris’s personal history is one with multiple texts that forms a collective history of women’s lives in a capitalist and patriarchal society and presents a feminist commentary on the capitalist exploitation of women.
This thesis is divided into two chapters with an introduction, and a conclusion. Besides explaining my motivation in choosing The Blind Assassin as the only text to be analyzed, the introduction presents the main argument and the basic thesis structure—the first chapter focuses on writing as personal accomplishment for Iris; the second chapter puts Iris’s personal history in the context of significant historical moments to show Iris’s or the author’s historical knowledge in constructing a feminist capitalist history. The first chapter discusses Iris’s life in three stages. The first stage is about the forming of her self-denial characteristic learning from her mother figures till her marriage with Richard. The second stage begins with her earlier writings in which she starts to deal with her own desire, the inner self she used to repress. After the death of her sister, Laura, Iris recognizes her “blindness” to others’ sufferings and then starts to live a life independently which marks the beginning of the third stage. By reconstructing her personal history, Iris also challenges the public discourse by showing other women the possibilities of living outside the patriarchal power structure and the refrains of any official discourse. The second chapter explores all narratives in the novel respectively and comparatively in terms of their collective function in revealing a history of exploitation of women in the patriarchal and capitalist society. With connecting motifs, wars and the blind assassin, those narratives form a history of capitalism from a woman’s perspective. Atwood has her protagonist, Iris, reveal how a capitalist system works in a society and manifest another possibility out of capitalist control in aging Iris’s daily life. Other than summarizing the main points, the conclusion ends with more about the meaning of the term “the blind assassin” and the life of the old Iris.

本論文以一女性歷史後設小說的角度來閱讀瑪格麗特?愛特伍德(Margaret Atwood)的小說《盲眼刺客》(The Blind Assassin)。小說中的女主角艾莉絲(Iris)藉由重建自己的歷史以重拾自我、建立一女性社群。她的論述與大眾論述相抗衡，尤其與官方歷史書寫形成對比。此研究立論於琳達?胡瓊(Linda Hutcheon)對歷史後設小說的定義以及詮釋，並結合後現代女性主義的觀點，進而闡述主要的論點：艾莉絲的個人歷史具有多重文本的特性，表面看起來似乎是由不同敘述者在其中建構故事，但所有的故事總體的看，其實是一部女性生活在資本主義和父權社會中的歷史，並且從女性的角度呈現資本主義對女性的剝削。
內文主要有兩個章節，加上導論與結語。導論除了說明研究動機，還呈現論文的主要觀點以及架構：第一章旨在說明寫作與艾莉絲成長的關係，著重於個人成長的部分；第二章將艾莉絲的個人歷史放到整個歷史的脈絡上，建構一套女性資本主義的歷史，展現出作者的歷史知識。第一章將艾莉絲的生平分成三個階段討論。第一階段探討年幼的艾莉絲如何從扮演她母親角色的人物中吸收與內化自我否定的人格特質，此一階段持續至她與理查(Richard)結婚為止。第二個階段開始於艾莉絲早期的寫作，此時她開始處理內心的慾望，面對長期以來受壓抑的另一個自我。最後一個階段從她的妹妹蘿拉(Laura)死亡開始，艾莉絲意識到她對他人苦難的盲目與忽視，於是開始自己獨立的生活。在書寫個人歷史的同時，艾莉絲的個人歷史和官方論述成為一對照，展現出女性走出父權體系與官方論述束縛的生活形態。第二章分別比較與對照小說中其他敘述者的故事，闡述其共同的用意：刻畫一部女性在父權社會和資本主義社會中遭受剝削與物化的歷史。每段故事以戰爭與盲眼刺客為母題互相呼應，以女性的觀點刻畫一部資本主義的歷史。藉由女主角艾莉絲的敘述來闡明資本主義在社會中操控與運作，並以年邁艾莉絲的生活態度作為示範，展現出另一種不受資主主義控制的生活型態。結論中除了重申主要論點之外，還提出其他關於『盲眼刺客』的解讀，以及對於年邁艾莉絲的生活的詮釋。

The Female Body as a Site of Control, Reaction and Resistance: Margaret Atwood's The Edible Woman and The Handmaid's Tale 控制、反應及抗拒之場域：論瑪格麗特．艾特伍德的《可食的女人》與《侍女的故事》中之女體

學年 / 93　學生 / Julia Pei-Hsuan Hsieh 謝佩璇　指導教授 / Dr. Kate Chi-wen Liu 劉紀雯老師　

In Margaret Atwood’s works, the issue of the female body is an important one that she explores from different angles of perspectives. Starting from the early years of her writing, the female body has been a site for Atwood to examine, criticize and reflect her viewpoints toward women’s situation. The Edible Woman, Atwood’s first published novel, and The Handmaid’s Tale, a female dystopia set in the near future, bespeak Atwood’s concern on the female body presented, understood and abused in societies of different spaces and times.
This thesis examines how the female body serves as a site of control for women under patriarchal societies, how women’s bodies react to the demands of submission and utility of their female bodies, and how resistance take place through the female body in Atwood’s two novels, The Edible Woman and The Handmaid’s Tale. Based on Michel Foucault’s elaboration of the concepts of the intelligible body and the useful body, and Susan Bordo’s further elaboration of the these two concepts to the contemporary social phenomenon of anorexia nervosa, the thesis argues that the female bodies presented by Atwood in her two novels, are not just docile; rather, they are sites of reaction and resistance against the social demands for being useful and intelligible.
The thesis’s introduction, besides presenting the main argument, explains how Atwood’s novels, in comparison with some contemporary North American feminist novels, are socially specific in their treatments of the issues of the female body. The first chapter examines how the female body is presented with the images of various fragmentary body parts, food, birthing, and so on in The Edible Woman. Through a very restricted body that has been acting in accordance with patriarchal demands and expectations, the protagonist’s body reacts violently and hence awakes her awareness which later helps her resist against society and patriarchy that intend to “consume” her. The second chapter deals with The Handmaid’s Tale, which depicts how the female body is reduced to a reproductive machine in a totalitarian realm in which women are deprived of all rights and power and categorized into different work machines. Through the protagonist’s point of view, the female body is presented as a birthing tool that has scarcely any power in a very limited space. Similar to The Edible Woman, Atwood employs images of female body parts and closely interweaves these images with those of food and birthing. Through trying to eat, to nourish their bodies, to make a cake or to narrate, the two female protagonists distance themselves from the controlled bodies and reconstruct their subjectivities to resist against the patriarchal society they are in.

瑪格莉特．艾特伍德於作品中，往往從不同角度探討「女性身體」這個重要的議題。從早期作品可見，女體一直以來為艾特伍德檢視、批判及反省女性地位的場域。在首部出版小說《可食的女人》與以不久將來為背景的反烏托邦小說《侍女的故事》裡，艾特伍德對不同時間與空間的社會中，女性身體如何被呈現、被檢視與被濫用的情況表達關切。
本論文檢視在《可食的女人》與《侍女的故事》兩部小說中，艾特伍德如何呈現女性，使其女性身體成為父權社會裡被控制的場域、刻畫女人的身體如何就被迫屈從以及同化所有女體的要求做出反應，及女人運用其女性身體抗拒的歷程。立論於米歇．傅柯對「認知的身體」與「有用的身體」觀念的闡釋以及蘇珊．波爾多對此二種身體的概念推衍，進而闡述厭食症為當代社會中的現象，本文試論艾特伍德的兩本小說中所呈現的女體並不全然為受操弄的軀體，而是就社會要求其身體「受認知」、「變有用」而產生反應及抗拒的場域。
除說明主要觀點，本論文於引論中即闡釋，艾特伍德的小說特別對女性身體此議題的探討，是令她較不同於其他北美女性作家之處。論文第一章探討《可食的女人》一書中，艾氏如何以一連串片斷的部份軀體、食物以及生產等等影像呈現女體。作為一個備受限制，卻又得對父權社會的要求、期待之下做出反應的軀體，此書主角在劇烈的身體反應後逐漸覺醒，進而抗拒那個企圖「吃掉」她的父權社會。第二章檢視《侍女的故事》中，女體如何被簡化成為生殖的機器，而女性亦成為一群極權世界裡，被剝奪所有權力並被區分為不同等級的工作機器。藉由主角的觀點可見，女體成為有限空間中無能力的繁殖機器。與《可食的女人》相同，艾特伍德於此小說中，深刻的描繪出各種片斷的女性軀體，並將片斷女體呈現的畫面與食物及生殖相聯結。艾特伍德的兩位小說女主角藉著恢復進食的能力、滋養保持身體、製作蛋糕以及訴說故事，來與她們同樣被控制侷限的身體保持距離，並重建其主體性以抗拒她們身陷的父權社會。

The Omitted Fifth Song: A Reading of Sir Philip Sidney's Astrophil and Stella 消失的第五首詩歌: 解讀菲力普.悉尼爵士的<<艾斯特菲爾與史黛拉>>

The Variation of Traditional Love Sonnets: Imitation, Mimesis, and Deviation in Lady Mary Wroth's Pamphilia to Amphilanthus 變奏的傳統商籟：論《潘菲莉雅致安菲藍塞斯》書中的模仿、擬態、與變異

學年 / 93　學生 / Alex Chien Yi Wu 吳建毅　指導教授 / Dr. Raphael J. Schulte 蕭笛雷老師　

This thesis is an attempt to “redeem” or re-evaluate the alleged traditional love sonnet of Lady Mary Wroth─Pamphilia to Amphilanthus. Lady Wroth’s utilization/ appropriation of the sonnet and the “ free” advertisement from the Sidney family always make the reading public categorize her sequence one of the Petrarchan love sonnet sequences. However, I would like to suggest that Wroth’s taking advantage of the Sidney, family prestige, and her imitation of the past tradition considering the tear-shedding of the lover-poetess, the battle image of love, the unattainable beloved and still more are merely strategic devices for her to procure a chance to speak.
In my Introduction, I will try to historicize the gender of femininity to shed light on how a woman, in Wroth’s period of time, has to suffer and endure in numerous perspectives including receiving education, marriage, daily routine job, manners, family affairs, and, especially, female literacy. Besides, my major theory of Luce Irigaray’s “ mimesis” will be also introduced to suggest that Lady Wroth’s “ orthodox” resemblances and choices of using a quite masculine genre, sonnet, are, according to Irigaray, to imitate to essentially thwart it.
In my following chapter, the origin as well as the “ fashioning” process of the sonnet and machinery will be examined to first set up the conventional sonnet canonical norms. After introducing the paradigms underpinned by Wroth’s literary fathers and even grandfathers, Wroth’s “ must” imitation from the past tradition and her obedience will be further presented to exhibit her inseparable bond with the colossus of past convention.
Chapter Two will, however, focuses on Wroth’s mimicry and deviation. To echo my major theory of mimesis, I will present a rather noncompliant sonnet lover-poetess, Pamphilia, whose surface imitation, presented in my 1st Chapter, as well as tactical digression have posed great challenge to the traditional prototypes of sonnet tradition and how a sonnet is supposed to be written. And, this sense of defiance serves as fissures for Wroth to speak and to be a female author which is almost not possible in her contemporary life.
Chapter Three is about how Wroth, in a more specific way, being positioned in a metaphorically vicious labyrinth where feminine utterance and literacy are always opposite to the desire of the misogynist reading and living environment, uses her secret weapons, the pursuit of room and sisterhood, to maneuver with the society.
Last of all, pointing out the 6th Edition of The Norton Anthology of English Literature (which is still the most used textbook in Taiwan’s English Literature survey courses), Professor Krontiris’s current argument in her Oppositional Voices: Women as writers and Translators of Literature in the English Renaissance, and May Paulissen’s The Love Sonnets of Lady Mary Wroth: A Critical Introduction, my Conclusion is served to “ right” several unfair/ inadequate wrong done on Wroth and her unique sonnet sequence─Pamphilia to Amphilanthus.

本論文主要研究英國女商賴詩人，瑪莉．蘿絲夫人，在其詩作中＜潘菲莉雅致安菲藍塞斯書＞ Pamphilia to Amphilanthus (1621) 對傳統的佩托拉克式的商賴詩所產生的依附，與試圖抽離，並進而反叛商賴詩寫作精神與慣習的複雜關係。身為女性，蘿絲必須藉由其伯父(Sir Philip Sidney)在當時英國政治以及商賴詩界的影響力來推銷自己的詩作。然而，其詩作雖在外觀上與傳統的商賴詩無異，在本質上卻再再的體現了女性主義評論家，路瑟．伊希嘉黑 (Luce Irigaray)所提出的擬態與諧擬 (playful repetition)。伊希嘉黑提出，在一向身處於創作劣勢的女性，唯有藉著自覺?發性的屈服於傳統的男性創作社會，才會在最後能享有發聲的機會。而相較於之前商賴詩人將個人對於社會地位與文學資助(patronage)的慾望美化成其愛人，蘿絲的最終慾望的投射應該是對女性總是處處設限的文學創作的權利與表達的空間。
導言以檢視當時16世紀末與17世紀初之行為規範書(conduct book)中舉凡宗教、律法、與著名理論家所對於當時女性一概念所提出的論述為主要內容。希望藉由歷史重建當時社會對於女性在接受教育、家庭地位、寫作、與日常生活中所面對的歧視與輕蔑，來引出蘿絲必須依附於男性傳統的應付策略。除此之外，伊希嘉黑的理論也會在這一章被提出，以作為承接下一章中蘿絲與其文學父親(literary forefather)們的似乎和諧的關係。
第一章旨在呈現蘿絲與商賴詩傳統之承襲關係。先從但丁到佩托拉克的詩作中去探討商賴詩最初的形成基本要素。接下來，飛利浦．席尼爵士( Philip Sidney)與史賓瑟(Edmund Spenser)的商賴詩群的作品也會被提出來作為一脈承襲但氏與佩氏兩人的驗證，與其奠定基本商賴詩形式的文學手段的探討。最後，蘿絲的詩作會被提出以應証蘿氏與其文學父祖之間的承襲關係。如愛情中的犧牲與悲傷氛圍，詩人與其愛人之間的戰爭意象，愛人的冷漠與難以接近的形象，肉體的慾念，本質與外表之間的衝突，相對模糊的字義，與詩中的戲劇性的特質(performative quality)，謬思女神的指引，以及更細部的直接模仿至其文學父親的旅人以及流沙意象。然而，文末，筆者會以另一理論家( Heather Dubrow)在〈文類〉(Genre)一書中之論述來假設與解釋，蘿氏與其文學先祖之模仿關係實屬策略性的仿效。其中，蘿絲承襲了一些項目，但卻也有意識的忽略了其他的精神!而這些被忽視的部分，筆者視為傳統與蘿絲詩作間的裂縫，以導出下一章中蘿絲離異傳統與尋求女性發聲機會的主論述。
第二章以呈現蘿絲詩作中的擬態與變異為主。如其商賴詩群 (sonnet sequence)中的擁有說話特權的女詩人，傳統男女角色的倒置，男性愛人的被過度邊緣化、瑣碎化，表象與實質的辨証，變色龍的意象，女詩人所堅信的忠誠堅決(與傳統的商賴詩中的游移的愛大相逕庭)! 這些異於傳統的部分，為我來說，變成了無休的隔閡等待著蘿絲這位女性詩人去謀略與操弄。
第三章主要以探討在面對當時的社會輿論之下，蘿絲如何運用其詩作中的空間意象以及其作品中與歷史背景中尋求可能的女性夥伴/ 結盟，以積極的對抗，亦或是消極的躲避男性社會對於女性言論的反對以及限制。
文末，我將提出現今對於蘿絲一書的不公平評論、論述，來總結我的觀點；並期許＜潘菲莉雅致安菲藍塞斯書＞能夠被平反為不再只是傳統愛情商賴詩，而是經由瑪莉．蘿絲夫人藉著策略性的模仿，以及不斷的對於寫作空間與女情誼的渴求，才在最後達到女性言論主體性以及女詩人的稱銜的具體化表現。

Nightmare Comes True - Social Confinement in Female Gothic Works: The Italian by Ann Radcliffe and The Butcher's Wife by Ang Li 惡夢成真－女性哥德小說中的社會幽禁：以安．瑞克莉芙的《義大利人》和李昂的《殺夫》為例

學年 / 93　學生 / Sophia Hwei-hsin Hsu 許蕙薪　指導教授 / Bro. Nicholas Koss 康士林老師　

This thesis aims to explore the social expectation and patriarchal confinement imposed upon women from the texts of Ann Radcliffe’s The Italian and Ang Li’s The Butcher’s Wife. In the introduction, the traditions of English Gothic and Chinese Gothic are discussed. In Chapter One, the gothic settings in The Italian and The Butcher’s Wife are examined to present the invisible imprisonment women experience in patriarchal society. In the second chapter, with the discussion of gothic relationship between men and women, the issue of how men manipulate women with the powers of sex, hunger, death, and economics will thus be explored. The gothic relationship between women will be the main focus of Chapter Three, in which the ideas of how absent mothers influence gothic heroines, and how gothic heroines are mistreated and are further excluded from the mainstream community by gothic mother substitutes will be analyzed. The concept that women are deeply confined and imprisoned within patriarchal ideology despite their efforts to strive for independence and freedom is not only the concern expressed by Ann Radcliffe and Ang Li, but is also the conclusion of this thesis.

本論文旨在探討在安?瑞德克莉夫的《義大利人》和李昂的《殺夫》中所呈現加諸在女性身上的社會期許與父權社會中的幽禁。在本論文的介紹裡，將會討論英國文學中的哥德小說傳統以及中國文學中的志怪傳統。在第一章裡，藉著檢視《義大利人》與《殺夫》中的哥德式場景，我將呈現女性在父權社會中所體驗的種種無形監禁。由第二章裡男女哥德式關係的討論，我將探索男性是如何運用性、飢餓、死亡與經濟的力量來制約控制女性。女人與女人之間的關係是第三章的重點，在此將分析母親的缺席是如何影響女主角，以及女主角們又是如何被「代理母親」虐待與排擠。安?瑞德克莉夫與李昂在她們作品中所要呈現的主旨是不管女性如何努力的爭取獨立、自由，她們終究仍被父權社會下的意識形態深深侷限。這也是本論文的結論。

The Constructions of Self and Space in Shakespeare's The Merchant of Venice 莎劇「威尼斯商人」中自我與空間的建構

學年 / 93　學生 / Jessica Shu-Yuan Huang 黃淑媛　指導教授 / Dr. Raphael J. Schulte 蕭笛雷老師　

This thesis investigates the constructions of self and the fluidity of space in the sixteen century, with specific focus on Shakespeare’s The Merchant of Venice. Grounded with a new historical reading and applied a postmodern theory on space, I discuss how the development of self is linked with space and the changeable spatiality makes the process of self-identity incomplete.
The focus of Chapter One is on the way of constructions of self in the sixteenth Elizabethan England. By historicizing the sociopolitical background in the sixteenth century, I discuss the existence of “other” is needed in the way of constructions of self. Also, the market-oriented social atmosphere makes the self-identity inseparable with personal possessions. The radical change in this era change the stable self-image as The Merchant of Venice discloses them.
The blossom of capitalism in this age also changes the concept of space. Chapter Two explores the power of capitalism and money-oriented concern change the spatiality of the two worlds in this play─Venice and Belmont─and moreover, makes the two opposite spaces become similar and mirror each other. I argue that by characters’ spatial practices in a certain space, the construction of space can be reshaped or deconstructed.
In Chapter Three, the two issues of self and space will be brought together. I examine the relationship between the self and space and further to suggest that the self-identity is hardly to achieve results from the collapse of different spaces, such as the public space and the private space. The non-places in The Merchant of Venice help me demonstrate the absence of private space and its relationship with self-constructions.
To sum up, identity formations in the Renaissance are manipulated internally by the religious quarrels and externally by the impact of capitalism and the non-place settings in this play cannot offer a sense of identity and location for a self.

莎士比亞在「威尼斯商人」一劇中呈現了文藝復興時期都鐸王朝的社會情況與文化，並暗喻了十六世紀資本主義所帶來的改變與影響。資本主義與市場的興起讓文藝復興時期自我定位的問題變得複雜，自我的建構與外在因素，諸如：商品、空間等成為不可分割的一體。而都鐸王朝的宗教紛爭，也讓自我意識有了更進一步的內化自醒。航海事業與商業市場的競爭也讓不同的空間開始產生了流動與同質性，本論文也將討論劇中人物的空間實踐如何改變空間性，使得兩個原本應屬不同空間的世界變得相似；在本劇中，威尼斯和貝爾蒙的空間性就因為個體的空間實踐與挪用而有所改變。不同的空間會產生不同的自我意象，而空間性也非一成不變，它會因不同個體的空間實踐而產成微妙的變化與流動。
本論文的第一章節將從伊莉莎白時代的歷史社會背景著眼，討論自我建構如何受到內化與外化的影響。第二章將解構傳統評論家對本劇中空間場景的解讀。評論家對莎士比亞劇中所呈現的兩個社會通常用對比的方式加以解讀。此章將引用亨利?列斐伏爾 (Henri Lefebrve)的空間理論來驗證本劇中空間的同質性與變化性。第三章討論本劇中流動的空間與自我建構的關係，並進而闡述空間對自我認同的影響，以及劇中角色如何改變在空間裡所產生的社會關係。總而言之，本篇論文試圖常是用空間理論的方式來討論文藝復興時期的人際社會關係與自我建構的問題。空間不再只是一個靜止無變的物質，相反的，它改變了我們對環境、對自我主體的看法，而個體的社會活動和空間實踐也讓不同的空間性產生更多元的變化。

Deconstructing and Re-mapping Irish Cartography: Postcolonialism, Rhetoric, Gender, and Identity in Eavan Boland's 愛爾蘭地圖的解構與重組：伊凡‧鮑倫的〈殖民地〉中後殖民主義、修辭、性別與身份認同之探討

學年 / 92　學生 / Vivian Fang-Ying Liao 廖芳瑩　指導教授 / Dr. Raphael J. Schulte 蕭笛雷老師　

Eavan Boland’s “Colony” explores an Irish woman poet’s identity loss in womanhood and authorship in the postcolonial Ireland and unveils the poet’s attempt to reconstruct her identity through exposing and deconstructing the dual colonial rhetoric mapped by England and by Irish patriarchal literary tradition in the conceptualization of national history, place, language, and gender. “Colony” presents a dual colonialism imposed on an Irish woman poet─one by Imperial Britain, and the other by the Irish patriarchal literary system. The dual colonialism is constructed based on the cartographic rhetoric of mapping, including the stratagem of reinscription, enclosure, and hierarchization of space. The reinscription of dichotic colonial rhetorical power leads to a confined and hierachized space that marginalizes and excludes the colonized. Consequently, the discursive map under the mechanism of cartographic rhetoric becomes a means of acquiring, maneuvering, and reinforcing colonial power. To deconstruct the hegemonic dual colonial map, Boland defines a postcolonial Irish identity as a fragmented, ambiguous, and even contradictory one. Chapter one deals with the construction and deconstruction of the rhetoric of the English colonial mapping. Chapter two presents the colonial mapping of Irish patriarchal literary tradition from bardic poetry to nationalist poetic works, which dehumanizes womanhood into national symbols or into literary muses. Chapter three argues that Boland employs the poetics of absence, gap, fragmentation, and contradictions to reconstruct and yet twice denies the identity of a postcolonial Irish woman poet. The thesis concludes that Boland’s essentialist definition of a postcolonial Irish woman poet in “Colony” constitutes another colonial map.

伊凡鮑倫的〈殖民地〉以歷史、地方、語言、和性別觀點探討後殖民愛爾蘭女性詩人在對於女性身份和詩人身份認同的失落感，以及鮑倫意圖欲藉由揭露與瓦解英國與愛爾蘭父權文學傳統所加諸在女性詩人身上的雙重殖民版圖，重建愛爾蘭女性詩人身份地位。〈殖民地〉呈現加諸在愛爾蘭女性詩人的雙重殖民主義─這兩位殖民者一為大英帝國，另一為愛爾蘭父權文學傳統制度。此雙重的殖民主義建構在拓展殖民版圖的修辭，包括將充斥二元對立概念的殖民霸權施加在殖民版圖上，並且進一步封鎖殖民地，並利用階級化修辭將被殖民者驅逐於版圖之外。因此殖民版圖修辭成為一種奪取、操縱和鞏固殖民霸權的策略，在此殖民版圖上，像鮑倫僅能說英語的愛爾蘭女性詩人受到雙重的身份認同的否定，既不受到英國的認同，亦不受愛爾蘭父權文學傳統的接納，成為邊緣人。為了解構此雙重的殖民霸權版圖，鮑倫將後殖民愛爾蘭身份在〈殖民地〉中定義為破碎的、模糊的，甚至矛盾衝突的身份地位。第一章探討英國殖民版圖修辭的建構和解構，使愛爾蘭和英國身份認同定義疆界模糊。第二章則是闡述愛爾蘭父權文學傳統，從吟唱文學歷史到民族主義文學傳統，將女性詩人的意象物化以及扭曲為象徵國家、文學繆思或裝飾詩的符號，淪為殖民霸權，繪製了一個排除女性詩人的文學殖民版圖。第三章論述鮑倫運用缺失、破碎和矛盾的詩學當作為解構父權文學殖民版圖的修辭策略，然而卻同時再度否定而非重建愛爾蘭女性詩人的歷史地位。最後，本論文歸論，鮑倫對於將後殖民愛爾蘭女性詩人的身份設限一破碎而模糊矛盾的專獨的定位，亦是再度殖民女性詩人的歷史地位，因此，〈殖民地〉顯現鮑倫自己本身看不見的第三張殖民版圖。

History, Politics, and Poetics in Thomas Kinsella's Poems 湯瑪斯‧金瑟勒詩作中的歷史、政治與詩學

學年 / 92　學生 / Buck Hsieh Fang Lee 李協芳　指導教授 / Dr. Raphael J. Schulte 蕭笛雷老師　

This thesis is a study of history, politics and poetics in Thomas Kinsella’s poems─“Nightwalker” (1967), “Butcher’s Dozen: A Lesson for the Octave of Widgery” (1972), and “St. Catherine’s Clock”(1987). These three poems characterize Kinsella’s historical perspective in the process of poetic composition and its perpetual revisions that allow readers to perceive Kinsella’s poetic development and its nature of writing process─a self-reflexive perspective of writing and revising in an on-going project. History, for Kinsella, is not only the source for writing, but also the approach and technique of reading the past and revising lived moments in context.
The introduction briefly begins with Thomas Kinsella in relation to modern Irish poetry after Yeats and Joyce and also periodizes these three primary texts in Kinsella’s poetic development from the sixties to the present. Chapter one focuses on the experiment of writing poetry in “Nightwalker” that suggests the self-reflexive perspective of writing in relation to the de/reconstructing self/subjectivity and investigates the nature of writing process and the self-exploration in the poetic composition. Chapter two particularly emphasizes on Kinsella’s poetic implication of Bloody Sunday and the Widgery Report in “Butcher’s Dozen.” Consulting with witness, documents, and narratives, the second chapter reconstructs the lived moment of Derry in 1972 and further engages the poetic implications within the practices of colonial politics, nationalism, and versions of historical interpretations. Chapter three specifically presents and discusses the intertextuality of the poetic composition with engravings, documents, narratives, and autobiography. This chapter attempts to incorporate issues from previous two chapters that embody metacommentray of writing process and the poetic tradition in Kinsella’s historiography of the poetics and recollections of family and childhood.

本論文主要研究金瑟勒三部詩作〈夜行者〉(“Nightwalker”)(1967)、〈屠戶的恩惠：致韋德利之八行詩〉(“Butcher’s Dozen: A Lesson For the Octave of Widgery”)(1972)、〈聖凱瑟琳之鐘〉(St. Catherine’s Clock”) (1988)之中歷史、政治與詩學間的相互關係與建構過程。此三部詩作分屬於作者三個不同階段的創作，首重關注創作歷程中詩學、傳統與詩體實驗的轉變，經由再現歷史、修訂歷史論述、改寫歷史的過程與論述建構，用以檢視詩學與歷史、政治間的辯證關係。對金瑟勒而言，歷史不僅是創作的素材，也是回顧過去的方法及途徑。以作者建構的歷史觀點，來關注此三部作品分別所涉及的議題和在詩學發展的歷程。
導言簡述愛爾蘭文學研究在台灣學界之發展現況。以介於葉慈、黑倪(Heaney)間(1940年代初期迄今)這段受到學界忽略的盎格魯?愛爾蘭文學史為研究動機，試以介紹50年代的詩人金瑟勒之詩作，重新發現、認識現代愛爾蘭詩。本論文以這三部作品的出版年代為順序依次探討詩的創作歷程、歷史政治與詩的之間的辯證關係，以及此三部作品之修訂版本與作者創作的發展。試以援用詹明信《政治潛意識》(The Political Unconscious)中對文本分析詮釋的歷史方法論及傅科《知識的考掘》中對論述的建構概念為基礎，進一步來研究金瑟勒在〈夜行者〉、〈屠戶的恩惠〉〈聖凱瑟琳之鐘〉的書寫創作和持續不斷的修訂改寫歷程。
第一章討論金瑟勒在〈夜行者〉的實驗寫作過程。首先藉著寓意性地解構/重構詩作中的實體自我，來重新探究詩作的主體性。此作品以影子與鬼魅的浮現，以打破現有的窠臼的破碎意象，進而呈現作者試圖擺脫詩學傳統、典律的陰影及影響。除此之外，由意識自我、解構自我為出發點，藉以回顧過去與歷史的軌跡，並試圖將過去與現在並置於同一時空的架構之中。金瑟勒將愛爾蘭建國時期的民族主義神話(1916-1920)、獨立建國後的內戰(1921-1922)與政治鬥爭、以及50、60年代計畫經濟下的都柏林街道作為題材，試以重現過去、重建歷史詮釋的方式來建構歷史觀點的詩學。
第二章以金瑟勒的歷史觀點出發，用以探討作者如何在〈屠戶的恩惠〉處理歷史事件、政治議題以及書寫創作的關係。此章節以血腥星期天的遊行場景德利(倫敦德利)的歷史與地理為開端，將德利城的發展、過去與現在歷史化、脈絡化，用以追朔北愛爾蘭長久以來宗教衝突、政治對立、社會暴動的源頭。金瑟勒在此作品中描繪此事件中死亡的的十三位受難者，藉以鬼魂漫遊街頭來重現血腥星期天的現場，同時以《韋德利調查報告》來檢視殖民者的歷史詮釋、政治權力的運作，以及歷史論述的建構。
第三章接續作者對歷史論述、政治運作的觀點，在〈聖凱瑟琳之鐘〉此詩作進行書寫創作、詩學建構的時空散步。首先憑藉三幅不同觀點刻畫聖凱瑟琳教堂的版畫，回顧18世紀末、19世紀初的都柏林。其中以1803發生在聖凱瑟琳教堂的艾梅特(Robert Emmet)叛亂起義、死刑執行這兩幅版畫，用來重現在風光亮麗的喬治都柏林(Georgian Dublin)都市街景背後的黑暗歷史。作者進而以莫頓(James Malton)的《聖凱瑟琳教堂》此版畫，凸顯此時代下的社會階級差異、殖民論述的影響。同時以教堂周圍的街道發展與童年記憶、家庭經驗作連結，利用自傳式書寫重述作者的都柏林經驗。
結論試以金瑟勒在這三部作品中書寫創作、修訂改寫舊作的過程為題，將這段書寫、修訂的歷程加以脈絡化，用以重新理解、詮釋作者持續不斷的修訂改寫的創作理念。

Body and Identity in Sylvia Plath's Work 蘇薇雅‧普麗絲作品中的身體與自我認同

學年 / 92　學生 / Claire Yu-Min Chen 陳玉敏　指導教授 / Dr. Raphael J. Schulte 蕭笛雷老師　

The thesis aims at seeing how Sylvia Plath establishes her own identity as a female writer with a distinctive voice through fictionalizing her own experience and writing a collective female experience of resistance in order to repossess their body and self identity. In this thesis, four genres — short stories, novel, poems and visual art ─ will be examined and Plath’s biography will be added as complementary supports to demonstrate Plath’s idea of body as a battlefield between patriarchal control to women and individual resistance.
In the first chapter, three short stories “The Fifteen-Dollar Eagle,” “The Wishing Box,” and “Sunday at the Mintons” are included. I will elaborate both the idea of the physical body and the textual body, and analyze the oppressions from both experiential and artistic levels.
In the second chapter, I will provide a socio-cultural study of America in the late fifties and discuss how the beauty industry, mass media, and social consensus at that time became an overall social confinement for women’s body and identity through analyzing Plath’s novel The Bell Jar.
In the third chapter, I will enlarge the social scope; discuss female exploitation both in job market and family. At the same time, I will discuss the social restrictions to women from biological and social determinisms. In the selected poems, “Barren Women,” “Childless women,” “The Applicant,” “In Plaster,” “The Munich Mannequins,” ”Purdah,” and “Lady Lazarus,”Plath visualizes the social control over female body by presenting a female docile body in her poems. Meanwhile, I will demonstrate how Plath uses humor in rhyme and rhythm to subvert male power and create her own world.
In the conclusion, I will use two of Path’s painting “Study of A Woman,” and “Nine Female Figures,” to demonstrate the idea of the body as the site of a power struggle, and the idea that how Plath constructs her own identity as a female writer through writing a collective female experiences in different genres.

本論文旨在探討蘇薇雅 ?普麗絲如何呈現五零年代美國社會對女性身體與社會角色加諸無形的束縛與壓迫。在論文中，身體被定義為故事中女性的身體及文體本身，蘇薇雅 ?普麗絲在其四種文類的作品中，包括短篇故事，小說，詩，及繪畫，皆呈現出身體為女性本身與父權社會間的衝突點。女性要由傳統角色中跳脫，則必須從身體的自覺進而角色自我認同上覺醒，然而這一過程多與其從小到大所接受的教育衝突，於是身體成為一個具體的戰場。而在蘇薇雅 ?普麗絲作品中女主角運用創造力重新書寫一個新的現實，呈現一種反抗，正與作家本身運用其文字書寫五零年代女性困境，不但表現出作家本身的反抗，更凸顯其嘗試跳脫自己原有社會定位，而定義己身為女性作家的自我認同。第一章中以三篇短篇故事呈現女性不同於男性思考的對比世界，女主角如何從否定懷疑自己的價值到肯定，而第三篇故事藉由紋身的意象連結了女性身體與文體創作，故事進而說明另一種女性書寫的反抗。第一章中，也預示了普麗絲運用幽默而削減男性權力。第二章中，以蘇薇雅 ?普麗絲的小說瓶中女人為例，闡述五零年代美國社會加諸女性的限制和壓迫，描述女主角由被動，盲目地跟隨社會既定潮流及傳統到覺醒及轉被動為主動去掌控自己身體的自主權與和處事的主動權。第三章中，以蘇薇雅 ?普麗絲晚期的詩為例，擴大社會層面，以女性勞工與家庭主婦為比擬，呈現出女性被壓迫，同時蘇薇雅 ?普麗絲在最後兩首詩中以文學創作手法顛覆壓迫。論文的結尾則以蘇薇雅 ?普麗絲少為人知的畫作呈現出她作品中以女性身體為權力角力的戰場的主題，及作家本身藉由創作而重新定位其角色為女性作家的自我認同。

As Time Goes By: The Power of Money in Goerge Eliot's Middlemarch 流金歲月：看喬治‧艾略特《米德爾馬契》中金錢勢力的展現

學年 / 92　學生 / Grace Ya-chi Wen 文雅琪　指導教授 / Bro. Nicholas Koss 康士林老師　

In this thesis, I examine the characters’ attitudes toward money and their responses under the power of money in terms of different generations. Throughout these chapters I focus on how the power of money dominates these characters, how they use the power of money to dominate others or how they reject the power of money.
In Chapter One, I discuss three types of the old generation characters in Middlemarch. One type uses his wealth to dominate others and even force others to follow his wishes, and another takes money as a means to upward social mobility. The third type is the exception in the old generation. He does not believe money is everything and is unwilling to be dominated by its power. He works not for money but for enjoyment.
Chapter Two deals with the attitudes of the young generation toward money. In the young generation in Middlemarch, Rosamond and Lydgate are in contrast to Mary and Fred. After marriage, Rosamond and Lydgate both yield to the power of money. Fred is the exception of his family who suffers much from his debts but later learns how to be a successful estate-manger. Mary is the one who resists the power of money. In the young generation, the issue of gambling reveals the characters’ attitudes toward money. The result of their gambling differs with their different motivation.
In Chapter Three I examine Dorothea’s attitudes toward money before and after marrying Casaubon, and her responses to Casaubon’s domination after Casaubon uses his wealth to prevent her from remarrying Will. Casaubon’s way of forcing Dorothea to follow his wishes is the same as the old generation’s. Dorothea’s way of resisting the domination of money presents the viewpoint of the young generation in Middlemarch. Besides, Dorothea always holds the idea that money should be used to help people in need and she puts it into practice very well. In conclusion, in Middlemarch, different generations hold different attitudes towards money. Most of the characters are influenced by money but at the end, money cannot dominate all of them. Some, however, get rid of its influence but others yield to its power.

本論文探討喬治艾略特 (George Eliot) 的小說米德爾馬契 (Middlemarch)中不同世代對金錢的看法與態度。第一章著重於老一輩用金錢的力量去駕馭他人，或把金錢當作進入上流社會的手段。唯一例外的是高思夫婦，他們不受金錢的牽制，享受工作的樂趣。第二章討論年輕的一輩受到金錢的誘惑，因而屈服於它的支配。在年輕的一代中，艾略特用了對比的手法展現兩對夫妻在面對金錢壓力時不同的態度。一對放棄了原本的夢想，只為賺錢而工作。另一對則擺脫金錢的控制，成功地走出自己的路。最後，第三章探討女主角(Dorothea)在結婚前和結婚後金錢觀改變與否。畢竟女主角在二次婚姻中經歷了不同世代的金錢觀。但最後她選擇擺脫金錢的支配去尋找真愛。總而言之，在米德爾馬契這本書中，可看到不同世代對金錢的看法。有人屈服於金錢的掌控，有人擺脫金錢的控制，而今日社會亦是如此。

Reburn from Despair: Multiple Intelligences in the Life of Robinson Crusoe 絕處逢生：魯賓遜多元智慧的運用與發展

學年 / 91　學生 / Julia Bei-Ying Kuo 郭貝瑛　指導教授 / Fr. Daniel Bauer 鮑端磊老師　

This study aims to investigate Robinson Crusoe’s use of multiple intelligences to transform his misery into happiness on the island adventures and to gain rescue at the end. I apply Howard Gardner’s “Multiple Intelligences Theory” (also known as MI theory) as a basis for argument in my thesis.
Chapter One introduces the motivation, objectives, a review of stereotypical concept of human capacities and Howard Gardner’s MI theory. Chapter Two discusses Crusoe’s physical survival on the island. I explore how Crusoe well employs bodily-kinesthetic, naturalistic and spatial intelligences to strive for his necessity as well as security in the midst of a hostile environment.
Besides physical survival, the island is also presented as a stage for Crusoe to seek for his spiritual survival. Chapter Three focuses on Crusoe’s conquest of inner conflicts with a combination of linguistic and intrapersonal intelligences. I argue that these two intelligences play important roles to help Crusoe undergo his religious conversion and to prevent himself from spiritual bankruptcy in his time of isolation.
Chapter Four centers on Crusoe’s freedom from the island. First, I analyze how Crusoe’s interpersonal intelligence works in different moments when he shapes Friday into a helpful assistant. And then, with the use of logical intelligence, Crusoe is able to work with Friday to outwit the mutineers on the English ship and finally brings his confinement to the end.
The fifth chapter concludes with educational meanings, achievements and ambiguous points that exist in Robinson Crusoe’s development of multiple intelligences when he is left alone on the desolate island.

本研究旨在探討魯賓遜如何運用與發展他的多元智慧，順利地在荒島上絕處逢生和最後獲救的歷程。全篇論文共包含五個章節：前言、正文三章，與結論。整個架構以霍華德?迦納的「多元智慧理論」為主要的研究依據。
第一章是前言，介紹本研究之動機、目的、回顧傳統上西方社會對人類智慧慣有的偏見，以及當代由霍華德?迦納提出的教育新思維─「多元智慧理論」。第二章進入本文部分，討論魯賓遜在險惡的環境中，必須善用肢體－動覺、自然與空間智慧來克服生存上的種種難題與挑戰，才能確保外在生命安全的奮鬥過程。
荒島的漂流歲月，不僅考驗著魯賓遜解決外在人身安全的智慧，同時，也是魯賓遜尋求內在精神救贖的場所。因此，第三章的討論焦點即鎖定在魯賓遜如何交叉運用語言與內省智慧，進而有效地征服心靈上的衝突。其中，語言和內省智慧亦是幫助魯賓遜重新拾獲宗教信仰的重要能力指標，讓他得以在宗教力量的支持之下，不會因為漫長的獨居生涯而導致精神異常。
第四章的重心以魯賓遜的獲救經過為論述主題。前半部分析魯賓遜與星期五之間的微妙關係，檢視魯賓遜如何在不同的階段中，運用人際智慧，逐步將星期五塑照成他的得力助手。之後，魯賓遜才能藉助邏輯－數學智慧，與星期五互相合作，共同智取叛變的英國船艦，完成離開孤島的心願。
第五章是結論，以魯賓遜獨自一人在荒島上，藉由多元智慧的發展歷程所揭示的教育意義、自我實現和侷限性作為總結。

Beyond Fragmentation and Trauma: Reconstruction of Identity in Michael Ondaatje's The English Patient and Anil's Ghost 越過破碎與創傷：《英倫情人》與《阿尼爾的鬼魂》中身份認同之重建

學年 / 91　學生 / Ann Yi-ann Yang 楊意安　指導教授 / Dr. Kate Chi-wen Liu 劉紀雯老師　

This thesis is an examination of post-war/trauma identity reconstructions and Ondaatje’s treatment of post-colonial identities in The English Patient and Anil’s Ghost. The protagonists in the two novels all meet identity crisis because of dislocation in the wartime, traumas or post-independence chaotic conditions, and their identifications become split and fragmentary. Instead of constructing a collective or national identity responding to the public conflicts, Ondaatje emphasizes the processes of individual’s surviving traumas and the meaning of anti-colonization and anti-authority self-reconstructions convey. The healing methods, the excavation of personal and public histories and interpersonal communication, not only assist the characters to move beyond traumas but also invoke dialogues between them and the socio-political contexts they inhabit. The processes of self-construction respond to Stuart Hall’s notion of identity as an ongoing process of identification. Ondaatje, furthermore, places his characters in a broader context of “earth,” which is a concept of wholeness as well as fluidity, to explore the connection among individuals, human world and “earth.” From this cosmic perspective, Ondaatje constructs an “earthly community” for his characters.
Chapter One discusses the reconstructions of diaspora subjects particularly from their traumatic experiences in World War Two and how they re-locate themselves in the early post-war period. Chapter Two examines how the migrant and the natives of Sri Lanka perceive and survive the civil war, and suggests self-reconstructions as the characters’ own identifications with the country. The concluding chapter deals with Ondaatje’s meta/physics of identity, which transcends human physical boundaries without ignoring the social and historical conditions.

本論文旨在探討《英倫情人》與《阿尼爾的鬼魂》中後戰爭/創傷身份認同之重建以及翁達吉對後殖民認同的論述。這兩本小說中的主要角色因錯置、創傷或後獨立時期內戰所造成的國家混亂而遭遇身分認同危機，造成其認同感分裂且破碎。雖因戰爭所導致人物的認同危機，翁達吉並不試圖在世界大戰與內戰的瓦礫殘堆中替他的角色們建構一個集體的或國家認同。反之，他強調與突顯每個角色如何克服創傷的過程以及角色自我重建所發出的反殖民與反權力聲音。在重建的過程中，透過挖掘個人及公共歷史、人與人之間的相互溝通的兩大主要治療方式，這些人物不僅能夠逐漸走出創傷的陰影，並進而能夠與他們所處的社會、政治環境及歷史對話，瞭解自己應如何在這被戰爭破壞了的大環境中處身。這樣重視治療過程及不導向一個固定認同的論述呼應霍爾所主張的概念，即身分是不斷地被建構在特殊歷史情境中的認同。但在視身份認同為不固定的建構下，翁達吉進而從更廣的角度去探討（後殖民）個體與整個人類世界、「地球」的關係。
第一章探討《英倫情人》中角色因第二次世界大戰所造成認同分裂的流離失所及創傷經驗，進而由角色的後殖民抗拒與「回家」去討論角色自己在戰後初期的定位。第二章討論《阿尼爾的鬼魂》中斯里蘭卡內戰所引起的「國家病」如何直接或間接造成斯里蘭卡人的創傷及認同問題。而角色修補自我的與文化的裂痕，並不意味著斯里蘭卡國家或文化認同的建立；相反的，自我重建的意義在於角色個人的文化認同。如此一來突顯斯里蘭卡認同問題的多樣性及複雜性。最後總結由翁達吉的宇宙哲學角度出發，檢視他呈現地球上的自然要素質疑人類世界所劃分及建構出來的界線，探討翁達吉所試圖建構的，人類在整個「地球」上的認同與位置。

Smart or not Smart: Seeking Multiple Intelligences in Jane Austen's Emma and Persuasion 聰明一線間--由多元智能論看珍．奧斯汀之《愛瑪》與《勸導》

學年 / 90　學生 / Jana Yi-wen Chien 簡怡玟　指導教授 / Bro. Nicholas Koss 康士林老師　

As Howard Gardner, who is best known for his theory of Multiple Intelligences (MI theory) points out, individuals can use their intelligences to solve problems, so do Jane Austen''s heroines. In addition to the time sequence of publication, there is a change of writing style in Emma and Persuasion while they also differ from Austen''s previous four novels. Then, Emma and Persuasion are the major texts I am going to study in this thesis. Through analyzing the text by MI theory, my thesis proposes to study how Austen creates characters and designs appropriate ways for them to pursue their happiness by the use of multiple intelligences. I argue that their education toward maturity goes forward by solving problems with their intellectual competences in distinctive ways.
Because of this, the analysis of the multiple intelligences of Emma Woodhouse and Anne Elliot will be the major method of approaching their problem-solving ability. Each one''s intelligences will be discussed in the following order: linguistic, logical-mathematical, spatial, bodily-kinesthetic, musical, interpersonal, intrapersonal, and naturalist. Together with this, I will present the importance of some characters who stand for hindering or helping the heroine undergo the learning process.
The First Chapter presents various critics'' thinking on the idea of education in Austen''s works. In Chapter Two on Emma, there are seven major problems waiting for Emma to overcome. Most of them relate to her relationships with other characters, such as Harriet Smith, Mr. Elton, Jane Fairfax, Miss Bates, Frank Churchill, Mr. Knightley, and herself. Chapter Three mainly deals with Anne in Persuasion. With her multiple intelligences, Anne''s main task is to solve two problems: awakening her emotions and deciding who her true love is. In the last chapter, the detailed comparison between Emma and Anne in terms of the eight intelligences concludes this study.

霍華德．迦納在其著名的「多元智能論」（簡稱MI理論）中提到，每個人都擁有多元的潛力與智能，透過教育即在發掘，並引領其心智能力發展，培育問題解決的能力，而這也是珍．奧斯汀在創造小說人物時的主要精神。由於《愛瑪》和《勸導》的寫作時間相近，作品風格也異於奧斯汀的其他四本小說，因此，以多元智能論為出發點，本論文旨在探討這兩部作品中，奧斯汀如何塑造女主角，如何依其性格發揮多元智能以追求幸福，使她們得以展現自身特有的心智能力，解決成長歷程中所碰到的種種問題。
為此，本論文的主要研究方法，在於分析愛瑪．伍德豪斯和安．艾略特這兩位女主角的多元智能，其順序為語言、邏輯-數學、視覺-空間、肢體-動覺、音樂、人際、內省與自然智能，進而以書中場景，說明其如何展現問題解決的能力。文中還將討論書中次要人物的重要性，說明在女主角的成長過程中，他們扮演的是幫助或阻礙的角色。
本論文包含四個章節，第一章闡述評論家對奧斯汀作品中，女主角成長的一般看法。第二章及第三章分別討論愛瑪．伍德豪斯和安．艾略特，說明她們如何以多元智能，解決所面對的難題。之後，依這八種智能，討論這兩部作品中，奧斯汀對於自我成長看法的變化，以為本篇論文的總結。

Racial Identity and the Blues in Langston Hughes's The Weary Blues and Fine Clothes to the Jew 蘭斯登‧休斯「疲倦藍調」與「好衣服賣猶太人」中種族定位與藍調之關係

學年 / 90　學生 / Louise Yi-ning Chen 陳怡寧　指導教授 / Dr. Raphael J. Schulte 蕭笛雷老師　

Langston Hughes was an important figure in the Harlem Renaissance of the 1920s’ America. Like other blacks, he faced the dilemma of double-consciousness. My thesis focuses on his attitude toward dual-identity in The Weary Blues, “The Negro Artist and the Racial Mountain,” and Fine Clothes to the Jew. His essay plays a significant role as a bridge between the two books of poetry. Created and defined first by W. E. B. Du Bois, double-consciousness was a problem of identity confronted by black writers and artists. For a black, being an “American” means to see his self through the eyes of the whites and the veil of primitivism; while being a black means to express his individuality and racial reality. In other words, in double-consciousness, the blacks had to “negotiate between representations of self, and representations of blackness fixed in the minds of audience accustomed to white caricatures” (Krasner 9).
In my discussion, I argue that there is a progressive change in Hughes’s attitude toward double-consciousness. In The Weary Blues, Hughes is ambiguous about his identity. On the one hand, he declares black solidarity, unity, and achievement. On the other hand, in his portrait of the blacks, he cannot escape the stereotypes of primitivism. His poetry implies a compromise with the white audience. However, in “The Negro Artist and the Racial Mountain,” Hughes begins to identify with the black proletariat, whose culture was a “vulgar secret shame” in the eyes of the black middle class. Despite his class-consciousness, Hughes’s presentation of the black masses is still in the shadow of primitivism. Not until Fine Clothes to the Jew does Hughes present a realistic portrait of the black masses. In the naturalistic tradition of the blues, Hughes’s presentation of the black proletariat subverts the white primitive stereotype and poetical framework. Therefore, his identity becomes clearer, when he chooses not to be an “American” in primitivism but to be a black in blues realism. Standing with the black proletariat and the blues tradition, Hughes’s poetry becomes a literary model in the 1920s.

在1920年代美國的哈林復興運動中(the Harlem Renaissance)，蘭斯登?休斯(Langston Hughes)是一位重要人物。休斯和其他黑人一樣，面臨了雙重意識的難題(double-consciousness)，我以他的三個作品為重點：《疲倦藍調》(The Weary Blues)、〈黑人藝術家和種族高山〉(“The Negro Artist and the Racial Mountain”)、《好衣服賣猶太人》(Fine Clothes to the Jew)，來探討他對雙重意識的看法，其中他的文章〈黑人藝術家和種族高山〉扮演橋樑的角色，串聯這兩本詩集。雙重意識之觀念乃由都柏(W. E. B. Du Bois)首先提出，這是所有黑人作家共同面臨的難題，對一個黑人而言，要成為一「美國人」，意謂著他必須透過白人的眼光和原始主義(primitivism)來看待自己，而作一位真正的「黑人」，則表示他得以展現獨特自我和種族原貌，換句話說，在雙重意識的難題中，黑人必須在呈現自我(representations of self)和呈現黑人既定形象(representation of blackness fixed by white audiences)之間尋找出路。
　　　　我認為在休斯這三件作品中，他對雙重意識的態度有一漸進式的轉變。在《疲倦藍調》中，他的定位模糊兩可，搖擺不定，他的詩一方面提倡黑人的團結、聯合，高舉其歷史成就，另一方面，對黑人的描繪卻仍難逃原始主義的樣板(stereotype)，於是他的作品隱約與白人讀者的品味妥協。然而，在〈黑人藝術家和種族高山〉中，休斯開始認同黑人無產階級的文化，與他們聯合陣線，(其文化在黑人中產階級眼中可謂「民族之恥」)，休斯此時已經擁有階級意識(class-consciousness)，可惜他所呈現的黑人平民仍帶有原始主義的陰影。一直到《好衣服賣猶太人》，休斯才展現出真實的黑人大眾文化，他採用藍調的寫實傳統，顛覆了白人對黑人所賦予的刻板印象。所以，當他揚棄作一個原始主義中的「美國人」，而選擇去認同藍調中真實描繪的黑人時，他的定位便清楚呈現了。休斯認同黑人無產階級和藍調傳統，以此為基礎，在1920年代創造了一種新的文學典型。