碩士論文

探討台灣大學生透過同步線上聊天室與視訊科技使用溝通策略進行跨文化溝通

A Case Study of Code-Switching in Computer-Mediated Communication among Taiwanese EFL University Students 探討台灣大學生於電腦線上溝通時語碼轉換之個案研究

學年 / 102　學生 / 鄭任捷　指導教授 / 曾明怡　

With the rapidly increasing development of technology, the investigation of code switching has extended its focus to computer mediated commutation (CMC). Code-switching is commonly noted and worth further discussion for its vital role in interactions in virtual spaces. Several researchers have undertaken code-switching studies on CMC, such as college affiliated Bulletin Board System (BBS), e-mails, Facebook, and chat rooms. However, the foci of such studies were predominantly on asynchronous CMC (ACMC), rather than synchronous CMC (SCMC). This thesis thus contributes to a further understanding of code-switching in terms of structural types, socio-pragmatic functions, and reasons as a group of Taiwanese college students participated in both SCMC and ACMC tasks within an EFL class. The participants in this study are thirty-seven Taiwanese college students, non-English majors in a university located in Northern Taiwan, attending one Freshman English course and working on both SCMC tasks via JoinNet and ACMC tasks via Facebook for one semester (18 weeks). Two major data sources are collected: (i) texts of code-switching in CMC tasks, and (ii) interview data with EFL student participants. These data set are analyzed in terms of structural types, socio-pragmatic functions, and reasons by drawing upon four specific frameworks: Anwar’s (2009), Clyne’s (1991), and Poplack’s (1980) works on structural types of code-switching, Appel and Muysken (2006)’s model on six functions of code-switching, and Malik (1994)’s interpretation of reasons for code-switching. The research findings hope to shed new light on the types, functions, and reasons for code-switching, particularly in relation to Taiwanese EFL college students’ use of code-switching in CMC.

Key Words: Code-switching, computer-mediated communication (CMC), types, functions, reasons.

隨著科技的快速發展，已有為數不少的語碼轉換研究進而探討其電腦輔助溝通之使用。近幾年來，語碼轉換的現象非常受到關注並且被廣泛的研究。相關學者針對在虛擬的網路場域中語碼轉換的現象，例如電子佈告欄系統 (Bulletin Board System/ BBS)、電子信件、社群網路(Facebook)或線上聊天室等。然而這些研究大部分偏重非同步電腦輔助溝通，極少數的研究討論同步電腦輔助溝通中語碼轉換。有鑒於此，本研究旨在探討台灣大學生進行同步與非同步電腦輔助溝通時的語碼轉換現象。針對三個部分進行深入探討:第一個部份是有關語碼轉換的結構分類；第二個部份主要分析語碼轉換的社語功能；第三個部份著重探討台灣大學生語碼轉換的可能原因。

本研究於北台灣某大學中的大一英文課程中進行，此研究進行共十八週；參與研究對象為修讀此課程、以英語為非主修之三十七位大一學生。研究者蒐集三十七位大學生於參與課堂同步與非同步電腦輔助溝通活動時所使用語碼轉換現象，包含透過線上視訊會議(JoinNet)進行同步電腦輔助溝通與社群網路(Facebook)進行非同步電腦輔助溝通，並且進一步分析。研究資料分析首先根據兩位學者Anwar (2009)、Clyne (1991) 和 Poplack (1980) 的研究進行語碼轉換的結構分類分析。再者，根據Appel & Muysken (1987）語碼轉換的社會語用結構，分析語碼轉換的社語功能。最後，根據Malik (1994) 所提出的語碼轉換的原因理論分析台灣大學生語碼轉換的主要因素。基於研究資料分析結果，本研究期盼對電腦輔助溝通上所使用的語碼轉換的類型、社語功能和原因注入新思維。並且提出相關建議與結論，作為研究電腦輔助溝通中語碼轉換相關學者與英語教師之參考。

關鍵字: 語碼轉換、電腦輔助溝通、類型、社語功能、原因

Recontextualizing Postcolonial Resistance: Politics of Transgression in Arundhati Roy's The God of Small Things 後殖民抵抗之再脈絡化：阿蘭達蒂‧洛伊《微物之神》中的踰越政治

學年 / 101　學生 / Carmilla Shan-shan Luo 羅珊珊　指導教授 / Kate Chi-wen Liu 劉紀雯　

Arundhati Roy's award-winning debut The God of Small Things arouses heated controversies because it tackles various socio-politically sensitive issues, such as the prevalence of Caste hierarchy, the gender inequalities, the Communist hypocrisy, and the sexual transgressions of the "Love Laws." Aijaz Ahmad criticizes the novel for being historically and politically incorrect, reducing the political struggles of the subaltern characters to an escape into "erotic utopia." On the other hand, Graham Huggan sees Roy as a writer who strives to become an literary celebrity in the era of global consumerism to markets her "tourist novel" of exotic inter-caste romance. My thesis aims to refute and counter-balance the criticisms of Ahmad and Huggan under the premises that "reality" is a matter of interpretation, that authorial intention is unknown, and that commercial logic is often beyond writers' control. Moreover, with a detailed textual analysis, this thesis proves that the subaltern characters' postcolonial resistance is made possible via the recontextualization of the interlocking social structure and the meanings of their seemingly trivial acts of transgressions.
Chapter One focuses on the interlocking social structure from outside the novel to within. I will prove that despite Ahmad's criticism of Roy's using sexual escapism as the solution to political struggles, the subaltern characters' acts of (sexual) transgressions can produce meanings to destabilize the social structure. Chapter Two deals with Roy's narrative strategies through which she allows her subaltern characters to speak in her novel, refuting Huggan's criticism of Roy's catering to Western readership with "aesthetic decontextualization" of exotic codes.

阿蘭達蒂‧洛伊的《微物之神》引發了不少激烈的爭議，因為它處理了各種社會政治上的敏感議題，例如種姓階級制度之盛行、性別之不平等、共產主義之偽善，以及角色們對「愛的律法」之性踰越。阿吉兹‧阿馬德（Aijaz Ahmad）批評這本小說的歷史與政治不正確，並指稱這本小說將底層角色之政治抗爭弱化、遁入逃避性的「情色烏托邦」。另一方面，葛萊翰‧哈根 (Graham Huggan)則視洛伊為一位亟欲在全球消費主義的年代中晉升為文壇明星的作者，認為她試圖藉此行銷她這本販賣跨種姓羅曼史的異國風情「旅遊小說」。以「真實」乃為個人詮釋的問題、作者本意難以知悉，以及消費邏輯往往超乎個別作者的掌控範圍的這三種概念為前提，本文旨在反駁並平衡阿馬德與哈根之批判。此外，本文亦以詳細文本分析來的方式證明，藉由對環環相扣之社會架構與角色們看似渺小的踰越行為的再脈絡化，可使底層角色的後殖民抗拒成為可能。
本文第一章旨在探討從小說本身延伸至外在世界的社會架構，並證明底層角色之（性）踰越並不如阿馬德所言之藉由性愛來逃避現實，因為這些行為足以產生意義，撼動看似堅不可摧的社會架構。本文第二章處理的是洛伊如何經由她的敘事策略，始得底層角色得以在她的小說中發聲，旨在反駁哈根批判洛伊對異國符碼使用了「美學的去脈絡化」的手段、希望藉此迎合西方讀者的口味的說法。

Finding Her Place within Early Victorian Society: The Role and Significance of the Governess in Jane Eyre and Vanity Fair 從《簡愛》和《浮華世界》看英國維多利亞時代家庭女教師的角色意義和重要性

學年 / 101　學生 / Diane 高鼎壹　指導教授 / Bro. Nicholas Koss 康士林老師　

19th-century English novelists seem to have an endless enthusiasm for writing about a governess, and either employ her as the protagonist, or include her as a part of the work. Some authors, represented by the Bronte sisters, speak of their genuine experience as home governesses through their characters; others, for instance, Jane Austen and William Thackeray, instead of discussing the issue of governess in their works, examine this common phenomenon of “homeschooling” in the larger picture of the social constitution—the 19th-century English society. When so many interests and efforts are put into this genre of governess novel, a question is posed: why, of the many trades in society, does a governess alone generate so much attention? Also, what kinds of forces behind that enlarge the population of this specified group? Furthermore, what circumstances are governesses dealing with while living with strange families and to what extent have these women interfered with domestic affairs? The focus of this thesis is to examine the clashes of values and the rise of anxieties which resulted from the employment of residence-governesses in the Victorian England through literary works.
When dealing with the issue of governess, many tend to emphasize payment. While salary is of importance, this thesis will try to reduce the portion of discussion concerning this domain, for its focal point is on the reciprocal relationship between the employer and the employed, the instructors and the students, and on the consequences and impacts that are brought by these “invited intruders” of private homes.
Aside from introduction and conclusion, this thesis is divided into three chapters. Following an introduction to the tradition of governess and the 19th-cnetury English society, the first chapter will focus on Jane Eyre. The aim of this chapter is to look into the life of a Victorian governess, of her social status, of her responsibilities, and of her relationship with the family, especially her male employer. In the second chapter, on Vanity Fair, I attempt to examine the Victorian governess from another light, analyzing the reasons for a lower-class young woman to go into teaching, and also discussing the difficulties she meets in her job. As for the third chapter, I will compare and contrast Jane Eyre and Rebecca Sharp who share no similarity in family background, education, or personality, except for their teaching profession.

女家教這個身份似乎特別受到十九世紀的小說家們的偏好。勃朗特三姐妹透過女家教，述說自己的親身經驗；珍奧斯汀和威廉薩克萊則縱觀『家教』在十九世紀英國社會中扮演的角色。在這麼多的行業裡，為何唯有女家教受到如此重視？她們在主人的家中，又面對了什麼樣的困難和挑戰？本論文將探討分析維多利亞時期的政治和社會背景如何影響女家教所辦演的角色，以及她們的價值衝突和焦慮。
提到女家教時，總免不了著重在薪水上；雖然薪水有實質上的意義，本論文的重點將放在雇主家庭、學生和女家教師三者之間的關係，以及家庭中的成員和『外來』的女家教如何互動。換言之，本論文首先將探討社會背景，並介紹英國十九世紀女家教的普遍現象，最後再分析比較《簡愛》和《浮華世界》這兩本小說。
除了概論和結論，本論文共可分為三個章節。第一個章節介紹十九世紀英國社會和女家教的傳統。本章節的重點放在《簡愛》，將探討維多利亞時期女家教的社會地位、責任、與雇主和其家庭的互動關係。第二章則將從另外一個角度來看《浮華世界》中維多利亞時期的女家教，分析出身較低的女人選擇家教一職的原因，以及她所面臨的困境為何。第三章則將比較兩篇作品中截然不同的兩位女家教，探討不同的出生背景，是否也會帶來不同的結果。

Female Subjectivity in Ambivalence, Fear and Fiction: A Kristevan Reading of Margaret Atwood’s Lady Oracle. 矛盾、恐懼及虛構世界中的女性主體性：以克莉絲多娃理論看瑪格麗特‧愛特伍的《女祭司》

學年 / 101　學生 / Maggie 郭婉萍　指導教授 / Kate Chiwen Liu 劉紀雯老師　

Margaret Atwood’s third novel, Lady Oracle, depicts ambivalence of female subjectivity caused by repetitious inner conflicts between self-awareness and feminine stereotypes imposed by patriarchal culture. The protagonist, Joan, is anguished not only about her incoherent self-identification with her obese body and her mother, but also about her chaotic identities after constructing her “new” selves by losing weight and putting on different masks of female roles in both her real life and her fictional world. In this thesis, I explain and analyze Joan’s psychic ambivalences and fears from both cultural-artistic and psychoanalytic perspectives. Specifically, I examine her development of ambivalent subjectivity from her childhood to her adulthood, from her contradictory mother-daughter relationship in domestic field to her uncertain amatory relationships in social field, and from her enactment of multiple identities in her real life to her shifting self-projections upon characters in her fictional world.
Based on Kristeva’s theory of subjectivity, and especially her notion of abjection, this thesis argues that Joan’s subjectivity is ambiguous because she cannot separate herself completely from her mother, and, as she thought she did, she continues to stay open to the other “parents’” influences. Joan’s subjectivity becomes more complicated by creating multiple “selves” and self-split characters through her writing as escape fiction; however, her creation of writing ultimately leads her to reorganize her chaotic self.
In the introduction, I position Lady Oracle in the context of Atwood’s previous three novels and explicate how Atwood’s early novels relate to the issue of ambivalent female subjectivity. The first chapter draws on Kristeva’s notion of abjection and subject-in-process to explain how Joan’s subjectivity is always ambivalent. Her subject, because of the incomplete separation from the mother, desires for the mother and her “original” fat self and simultaneously for the father and socialization. The second chapter, based on Kristeva’s concepts of failure in identification with the Imaginary Father and the choice of the love object, deals with Joan’s uncertain relationship with her father, which expands to her contradictory emotional entanglement: both desire for and fears of men’s love, and her paradoxical identification and deprecation of social roles of femininity. Moreover, I expound how Joan reorganizes her ambivalent self-identifications in both her creation of multiple identities and self-split fictional characters through the process of writing Gothic romances. In the conclusion, in addition to demonstrating how Joan develops from a chaotic self with ambivalent self-perceptions to an integrated self through the process of writing, I presume possibilities of the ambiguous ending after the novel. Besides, I extend Joan’s ambivalent female subjectivity to the issue of body image, confusing motivation of weight loss and hesitation of getting married in society nowadays.

瑪格麗特‧愛特伍(Margaret Atwood, 1939-)的第三本小說《女祭司》(Lady Oracle)深刻描寫女性因為反覆經歷自我意識與父權文化下的女性刻板印象之間的內在衝突，而產生的矛盾主體性。女主角瓊(Joan)不只因為她肥胖的身材，而苦於矛盾的自我意識，游移在認同自己的身體或是力求符合母親的期望。另一方面，儘管在瘦身成功和建立新的身份之後，瓊仍困於矛盾混亂的身分認同裡，不論是面對現實生活中她所扮演的多重女性角色或是矛盾的投射於自己所創造的虛構角色。在這篇論文中，我從文化藝術創作的角度與精神分析的觀點去探索瓊的心理矛盾與恐懼。明確地說，我主要從三個層面來分析瓊的矛盾主體性的發展：從她的童年時期到成年時期；從她在家庭背景中與母親的矛盾關係到社會領域中與男性矛盾的戀愛關係；從她在現實生活中扮演的多重身份到她在虛構世界裡對角色的矛盾自我投射。
依據克莉絲多娃(Julia Kristeva, 1941-)的主體性理論，特別是她的賤斥(abjection)理論，此論文闡述瓊的主體性之所以矛盾是因為她無法完全與母親分割。儘管她以為她已與其母分割，實際上卻不是如此，她仍然不斷地受到其他人如同“雙親”般的影響。藉由寫作猶如逃避現實生活般，瓊不斷地創造多重身份與自我分裂的虛構角色，她的主體性也隨著變得更加複雜。然而，瓊的小說創作最後卻引領她重整了混亂的自我。
本論文之引論將《女祭司》放置於愛特伍的前三本小說脈絡中，並且解釋愛特伍的早期小說與矛盾的女性主體性的關係。第一章引用克莉絲多娃的賤斥理論和“在過程中的主體”(subject-in-process)說明造成瓊的矛盾主體性的原因。她的主體因為與母親的不完整分割，而不斷的渴求母親與原本的肥胖自我，且同時矛盾地渴求父親與社會化。第二章引用克莉絲多娃的理論概念：認同想像父親(the Imaginary Father)的失敗與選擇愛戀對象(the choice of the love object)的失敗，來解釋瓊與父親的不確定關係，甚至延伸到她的矛盾情感糾結：渴望卻又害怕男人的愛，和她自相矛盾地認同且否認自己的女性社會角色。除此之外，我說明瓊如何透過寫歌德式小說(Gothic romances)的過程重整她的矛盾自我，包含她在現實生活中所創造的多重身份以及虛構故事中自我分裂而成的角色人物。本論文之結論除了再闡述瓊是如何透過寫作從混亂矛盾的自我認同發展成完整的自我，我也針對模稜兩可的故事結尾推測了幾個可能性。並且將瓊的矛盾主體性延伸到現今社會的身體形象(body image)的議題、混淆的減肥動機與對婚姻的猶豫。

Trauma Narratives as Working-Through in Margaret Atwood’s The Blind Assassin 瑪格麗特‧愛特伍《盲眼刺客》中的創傷修通

學年 / 101　學生 / Stephanie Chuang 莊雅娟　指導教授 / Kate Chiwen Liu 劉紀雯老師　

This thesis examines how Margaret Atwood’s novel The Blind Assassin is a trauma narrative by writing which Iris, the narrator, works through her traumas, becomes a creative non-victim and establishes female heritage. Based on Dominick LaCapra’s concepts of trauma, acting-out and working-through, and combined with Margaret Atwood’s definitions and discussions of the four “[b]asic [v]ictim [p]ositions” (Survival 46) in Canadian Literature, this thesis argues that the two narratives of Iris’s are her ways of working through her traumatic experiences, through which she turns from an “unseeing” narrator and a traumatized victim in her youth into a perceptive narrator and an artistic non-victim, and the novel ultimately suggests a hope for female bonding and heritage ( The Blind Assassin 517).
This thesis is divided into two chapters with an introduction and a conclusion. Besides explaining my motivation in analyzing the novel, the introduction presents my main argument and the thesis structure—the first chapter focuses on how Iris acts out and works through her traumas by writing about the past traumatic events with better understandings; the second chapter demonstrates the recurrent motifs and narrative resonances critical of patriarchy and capitalism in Iris’s texts.
Chapter one manifests that the artistic repetitions of both the term “blind assassin” and the photographs in Iris’s first work reveal the young Iris’s attempt to come to terms with her traumas. Nevertheless, as the repeated nightmares and obsessive showers indicate, her first writing is a wasted effort. It is her second novel writing in a broader scope that the elderly Iris exhibits how the interconnected systems of control—patriarchy and capitalism—support each other to oppress the Chase females. 　
　　　　
Chapter two argues that the elderly Iris presents herself to be an artistic trauma narrator, turning her position of a victim to that of a creative non-victim. The Blind Assassin as a whole demonstrates Iris develops a narrative network of artistic repetitions with social critiques of patriarchal and capitalist oppressions embedded in her descriptions of the repetitive motifs such as gloves and photographs, and of Alex’s and Laura’s voices in her text. With her addressing her granddaughter Sabrina at the end, Iris, moreover, constructs female heritage and community of the Chases in the memoir.

本論文探討瑪格麗特‧愛特伍的小說《盲眼刺客》中，敘述者艾莉絲藉由書寫過去，修通其創傷經驗，成為一位具有創造力的非受害者和建構查斯家族的女性傳統和女性共同體。根據多米尼克‧拉卡普拉的創傷、創傷修通和創傷展演概念，並結合瑪格麗特‧愛特伍對於加拿大文學中的四種基本受害者地位的討論，本論文主張艾莉絲藉由兩次寫作，修通其創傷經驗，從年輕時一個盲目的敘述者和創傷受害者，逐漸變成有感知的敘述者及帶有藝術性的非受害者。而這本小說最終也暗示了小說的女性角色因為艾莉絲的寫作，彼此間有了聯繫和傳承關係。
內文主要分為兩章，加上導論與結論。導論除了研究動機外，還包含主要觀點和架構: 第一章著重艾莉絲對其家族的過去有深刻的體會，並記錄她過去的不幸，展演及修通其創傷經驗; 第二章陳述其文本中有批判父權主義和資本主義的重複性母題和敘事共鳴。
第一章闡明艾莉絲第一本寫作中的重複性母題－「盲眼刺客」和相片－顯示出年輕時的她嘗試調和其過去創傷經驗。然而，艾莉絲出現強制性重複的噩夢症狀以及強制性重複淋浴的症狀，意味著其第一次寫作是失敗的。直到她晚年用更深更廣的角度書寫，才顯出資本主義和父權主義如何交互作用迫害查斯家族的女性。
第二章旨在說明老年的艾莉絲從藝術性的受創敘述者轉變為具有創造力的非受害者。整部小說編織出一個帶有社會意義的藝術重複性網絡，用手套和照片以及亞歷斯和蘿拉的觀點為例，批判當代父權主義和資本主義的壓迫。隨著在回憶錄尾聲直接對著孫女薩賓娜說話，艾莉絲不僅建構五代查斯家族女性共同體，也讓彼此間有了聯繫和傳承關係。

連結：http://140.136.209.5/cgi-bin/cdrfb3/gsweb.cgi?ccd=9GHr.D&o=v0-2

ALAN STRANG’S SUBJECTIVITY: LACANIAN UNCONSCIOUS IN PETER SHAFFER’S EQUUS 《戀馬狂》 : 在拉岡「無意識」理論下亞倫‧斯特的主體性

學年 / 101　學生 / Jeffery Chih-Hsin Pai 白志信　指導教授 / Cecilia C. H. Liu 劉雪珍老師　

Peter Shaffer’s Equus has a strong implication that language forms conventions and manipulates human subjectivities. People are not their own masters to pursue their desires; instead, they are merely marionettes under the control of the unconscious.
To demonstrate how Alan Strang’s subjectivity is constructed like language, this thesis will apply Lacan’s linguistic psychological theory on “unconscious” to construe through the concept of signifier and signified how Alan’s subjectivity is constructed like his parent’ language, and how his behaviors are formed. Chapter One examines how the parental languages affect Alan’s subjectivity that is composed of a series of replacement and substitution of signifiers. Chapter Two elucidates that Alan is in the process of looking for his identity through the pictures of Jesus Christ and Equus, which is like seeing an ideal image in the mirror phase after being projected by the Symbolic knowledge from his parents. Chapter Three dwells on Alan’s secret rituals. All his rituals do not come up from his own will; instead, they are applied to make sense of Alan’s personal meaning. Chapter Four expounds Alan’s phobic symptoms and the meaning of normalcy. Throughout the analysis of phobia, it is explicit that one’s repressed signifiers emerge from the unconscious to warn the subject of the memory of castration. On the other hand, normalcy is arbitrary. Like most people, Alan has to comply with the Symbolic of the majority so that he can be accepted.
The unconscious is an invisible master controlling Alan’s mind and actions. It is language that speaks us rather than we speak it.

彼得‧謝弗的«戀馬狂»有相當濃厚的含意暗示「語言」建構常規及想法，以及操控人自身主體性的工具。人其實不是自我的主人，追求的渴望的東西其實也不是自發性產生的；相反的，人只是語言「無意識」操縱下的傀儡。
要證明亞倫的主體性是由語言而生，此論文應用拉岡的語言心理學理論中「無意識」中「能指」及「意指」的概念來解釋亞倫的主體性如何受到父母語言的影響。第一章節討論的是亞倫在父母的教育下的，其實是一連串的能指替換及取代。第二章探討的是亞倫如何在父母不同語言教育的投射下，透過耶穌基督及Equus的完美形象中來尋找自己的身份定位。第三章則分析亞倫受到母親宗教影響下所產生的祕密儀式。惟有須透過自身語言，亞倫才能從這些儀式中給予自己意義及力量。而第四章著重在亞倫的恐懼症及社會制度下對「正常」的定義。人在無意識中的記憶會透過恐懼症回到意識中，這些記憶通常是閹割焦慮；另一方面，社會對正常的定義是語言的武斷思想，如同其他人一樣，亞倫必須遵從此思想來使自身意義讓別人接受他。
無意識是無形中主宰人思想及行為的主人，因為不是人透過語言訴說自我，反之，是語言建構了人的主體性。

Emily Dickinson's Rhizomatic Fascicle 16: Deterritorialization and Violence 艾蜜莉‧狄金生根莖式的詩觀：手稿第16冊中的解域與暴力

學年 / 100　學生 / Sophie I-Han Yang 楊懿菡　指導教授 / Raphael Schulte 蕭笛雷老師　

This thesis uses Deleuze and Guattari’s theories on rhizomatics, deterritorialization, lines of flight, and becoming to examine Dickinson’s violent poetic world in Fascicle 16. Even though Emily Dickinson lived in the 19th century, her poetry seems postmodern examined under today’s standard. Dickinson is famous for her rebellious attitude, in her life and in her poetry, towards the patriarchal society. In her lifetime, Emily Dickinson never published her poems; however, she did secretly combine her poems together as fascicles and never showed them to other people. In the fascicles, Dickinson challenged many literary conventions, including structures, grammar, punctuation, line breaks, and rhyme. Especially in Fascicle 16, she violently breaks nearly all boundaries in the poems. The poet created a rhizomatic poetic world, where all the boundaries are deterritorialized, including the boundaries of time and space, reality and phantasy, and speaking voices and identities. Emily Dickinson’s highly mystifying poetry exhibits the poet’s rebellion to reality and a flight to imaginary worlds in order to liberate every possibility to the maximum and to keep her speakers in the process of becoming.

本論文以德勒茲與瓜達希論述「根莖」 (rhizomes)、「解域」 (deterritorialization)、「逃亡路線」(lines of flight)及「成為」(becoming)等理論來探討艾蜜莉‧狄金生充滿暴力的手稿第16冊。狄金生雖然身為十九世紀的女詩人，但即使以現今的標準來檢視，其詩作卻仍然非常後現代。不論在她的生平或是詩作，狄金生都極力對抗壓迫她的父權社會。狄金生在生前從未出版過她的詩作，反之她卻秘密地把其詩作編成一本本的手稿，直到詩人死後才被發現。如同德勒茲與瓜達希的理論所強調的後現代的不確定性。在這40本的手稿中，狄金生挑戰所有的文學傳統：從結構、文法、標點、大小寫、分行、到韻律。而在狄金生的手稿中，她甚至沒有提供完整的版本，她在手稿中為特定的字提供數個選項，讓讀者自行挑選。尤其是手稿第16冊，狄金生盡其所能地打破所有界線以創造出屬於她自己的不受限制的、根莖式的詩觀。在手稿第16冊幾乎沒有任何觀念可以被肯定，她的詩打破時間與空間的界線、真實與虛擬的界線、及敘述者聲音及本體的界線。狄金生極為神秘難懂與模稜兩可的詩作反映出了詩人對於現實壓迫的反抗並嘗試打破所有疆界以逃亡到不受限制的想像世界，從而解放所有的可能性以及讓其敘述者的主體獲得最大的自由。

Shifting Borders: Mark Doty's Atlantis 移動邊界：馬克多蒂的〈亞特蘭蒂斯〉

學年 / 100　學生 / Cathy Chang 張嘉玲　指導教授 / Raphael Schulte 蕭笛雷老師　

Atlantis (1995), Mark Doty’s fourth book of poetry, delves into the relationship between people and their surroundings—both the natural and man-made. The poet dedicates this collection to Wally Roberts, Doty’s partner of twelve years who passed away due to AIDS in 1994—a year before the publication of Atlantis. Of course these poems can be read/analyzed in a biographical way by seeing the voice in the poems as Doty himself and the other presence that peeks through throughout the collections as Roberts and friends of Doty and Roberts who were all touched by the AIDS crisis. It is simple to do so because first, as mentioned previously, Doty dedicates this book to Roberts; second, Roberts’s name appears in many poems, such as “Atlantis” which is composed of six poems; and third, many poems in this book deals with homosexuality, AIDS, and death—everything experienced by Doty and explained in some fashion in his memoir Heaven’s Coast (1996). However, this thesis tries to analyze the poems separate from the poet-author to focus on what the poems themselves suggest.

This thesis focuses on “Atlantis,” a long poem composed of six poems— “Faith,” Reprieve,” “Michaels’ Dream,” “Atlantis,” “Coastal,” and “New Dog”—to illustrate how the search for answers and/or comfort, to find order and structure in the world, is continuously subverted because life and experience is not stagnant or isolated and thus cannot be explained or understood completely. In other words, the various poetic voices in the poems try to re-construct boundaries of understanding that are torn apart with the appearance of an unknown and unnamed disease that comes with its own stereotypical metaphors, and ultimately the hovering presence of death in the ever- shrinking distance. However, the poems in “Atlantis”—through images, words, and their poetic structures—demonstrate the futility, or incompleteness, of trying to reach a single answer about life and ultimately death. The constant building and demolishing in the poems all link back to the idea of life as a constant flux (Muske), which helps portray reality through the poems’ inability to fully articulate what wants to be said. Therefore, this thesis looks at the places of fissure through close reading and analyzes the six-poem sequence “Atlantis” thematically—Spaces and Body; Time and Perception; Voices and Intertextuality; Language, Devices, and Structure—instead of individually.

Chapter 1 looks at how the poems first try to set a distinction, or boundary, between nature and civilization through the discussion and juxtaposition of physical/geographical space, and the body and spirit in the relations to the natural cycle of life and death. However, the poems in “Atlantis” demonstrate how everything is interconnected and inseparable that suggests the search for answers are futile because everything is always fluid and continuous. Chapter 2 discusses how the linear progress of time is disrupted, especially in the first half (“Faith,” “Reprieve,” and “Michael’s Dream”) of the poem sequence, through the constant switching of tenses and the patchwork of dreams and memories that comprises the poems. The lack of chronological time demonstrates the unstable and uncertain emotions in the poems and creates spaces of timelessness, an inability to move or look forward. Chapter 3 then focuses on the various voices, or inclusion of outside stories, and intertextuality that allows different perspectives to appear and move “Atlantis” beyond a personal poetry to a collective one. Chapter 4 analyzes how the language, or words, used in “Atlantis” contribute to the feeling of ambiguity and uncertainty while at the same time searching for a stable and constant meaning in life and death. Similarly, this section looks at the poetic devices and structure to illustrate how they all contribute to the effort of re- building people’s belief and understanding of life in relations to death, but at the same time undermining any single answer since life is ever-changing and mutable and death unknowledgeable to the living. “Atlantis” is a poem sequence full of tension between what is said/written and what is also hidden, which represents a continuous struggle to find a footing in the slippery sand of time while searching for the meaning of life, what it is to live, love, and ultimately die, in face of an illness that cuts the future short.

《亞特蘭提斯》（Atlantis, 1995）是美國詩人馬克多蒂（Mark Doty）的第四本詩集，以人與周遭自然或人為的環境為主題。多提將這本詩集獻給他相處十二年，不幸在本書出版前一年，也就是一九九四年因愛滋病去世的男友威利羅伯茲（Wally Roberts）。本書所收列的詩當然可以從作者自傳的角度來解讀或分析，將詩裡的聲音視為多提本人，至於詩中所提及的其他人則為羅伯茲或多提與羅伯茲受到愛滋病影響的共同朋友。以此方式來處理較為簡便，因為一方面如同先前所言，多提將本詩集獻給羅伯茲，另方面羅伯茲的名字出現在許多詩裡面，包括由六首短詩所組成的〈亞特蘭提斯〉。此外，本詩集有許多詩的主題是有關同性戀、愛滋病或死亡，這些都是多提所曾經歷，並在他的回憶錄《天堂的海岸》（Heaven’s Coast, 1996）裡有某種程度的說明。然而本論文試著從與詩人無關的角度來分析各首詩，也就是聚焦於詩本身。

本論文係以〈亞特蘭提斯〉組詩為分析焦點。該組詩以六首短詩：〈信念〉（Faith），〈暫緩〉（Reprieve），〈麥可的夢〉（Michael’s Dream），〈亞特蘭提斯〉（Atlantis），〈海岸〉（Coastal）及〈新狗〉（New Dog），來顯示為何尋找答案或安慰，以及尋求世界的次序及結構的努力一直受到顛覆，因為人生與經驗並不是停滯不前或孤立存在，因此無法被完全的解釋或理解。換句話說，詩裡的各種不同聲音是試著要重建理解的邊界，該等邊界因一種不詳、無名，且隨之帶來先入為主的隱喻，以及最終驅之不散、逐漸接近死亡的疾病的出現而受到撕裂。然而，〈亞特蘭提斯〉組詩經由影像、文字及詩的結構來展現獲得有關人生及死亡之單一答案的徒勞或不完整。詩中不斷的建構與拆解，最後均回復到生命的無常，經由詩中無法充分闡明所欲表達之概念來協助描述現實。因此本論文經由仔細的研讀與分析〈亞特蘭提斯〉組詩的六首短詩的整體主題：空間與身體、時間與認知、聲音與相互援引、文字技巧與結構，來檢視裂縫之處，而非逐一檢視各個主題。

第一章檢視各詩如何首先經由討論有關物質或地理空間之重疊，試著建構自然與文明之區別或界線；接著則為肉體及靈性與生死自然周期間的關係。然而，〈亞特蘭提斯〉組詩顯示所有事情是相互關聯且不可分，意謂找尋答案將是徒勞，因為所有事情總是流動與持續。〈亞特蘭提斯〉組詩的六首短詩含有對不同空間所做的混合觀察，從原野/森林與公路/城市的自然或文明的空間，以至土地/海洋/空氣等自然元素。這些敘述是透過生與死的有色玻璃來看，詩中的敘述者，不管是一個或多個，均浸潤於在受到死亡存在所污染的世界裡找尋安慰與意義的掙扎。面對死亡，詩中的敘述者轉而思索肉體與靈魂，以及當人們用來做為辨識己身並與社會進行互動的媒介的肉體因疾病而逐漸分解時所代表的意義。透過為渠有關取得控制與權力的經歷尋找答案，詩中的敘述者最後顯示從死亡與來世尋求安慰的徒勞。

第二章討論時間的線性前進如何被打斷，特別是在前三首短詩〈信念〉、〈暫緩〉、〈麥可的夢〉，詩中的時式不斷變換，夢境與回憶交疊。時序的缺乏顯現各詩的不穩定與不確定的情緒，從而創造出沒有時間性的空間，無法移動或往前看。在〈亞特蘭提斯〉組詩中，夢境與現實的界線持續受到挑戰，創造一種沒有時間的氛圍，也就是陷入過去與現在、現在與未來間不定狀態動彈不得，不論肉體或心理均無法往前移動的一種感覺。與此同時，強制納入來自各處之不同夢境，加上敘述者的觀察，讓不同的認知與聲音得以穿透，製造群聚及多重的感覺。

第三章接著聚焦於各種聲音，或含括別的作者的文本，也就是援引（ intertextuality），使得不同的觀點可以出現，並讓〈亞特蘭提斯〉組詩可以超越個人而成為眾人的詩。有許多地方出現隱藏的存在（聲音），進一步創造群聚（community）及非屬單一（plurality）的感覺，並加入其他有名的文句，產生與〈亞特蘭提斯〉組詩對話的效果。類似地，〈亞特蘭提斯〉組詩使用援引及映像來與《亞特蘭提斯》詩集進行連結，消除了詩集目錄中的方括弧，允許更多的相互解釋。

第四章分析〈亞特蘭提斯〉組詩的文字或用字如何在有助於創造一種模糊與不確定感覺的同時，又尋找生與死的穩定與不變的意義。同樣地，本章亦檢視詩的技巧與結構，以顯示它們如何有助於重建人們對生與死的信仰與理解的努力，同時卻又弱化任何單一之答案，因為生命不斷在變動，而死亡對於活著的人而言則純屬不可知。多蒂說：「一首詩總是經驗的製作版（made version）」、「意義並非封閉或完整（completed），而是不短衍生新意（generative)」，此意謂著文字無法完全闡述現實，讓非屬單一（plurality）得以存在。語言或文字在詩中扮演重要角色，因為每個字及標點均經仔細選擇與使用，以給予所欲呈現之意念最大的效果。此外，詩中所使用的工具（poetic devices）與結構有助於強化詩中所擬傳達的訊息，或者顛覆該等意念以呈現不同甚或矛盾的態度，讓一首詩可以有新的解讀。

結論

多蒂的朋友Alfred Corn在敘述焊復一個破碎茶杯時，最能詮釋《亞特蘭提斯》這本詩集。他寫信給多蒂說：我們的詩就像修補用的金色焊條（gold solder），修補破片，但絕無法完好如初；金色焊條可增添茶杯某種美，讓它的歷史的一部份可以看得見（Heaven's Coast 286）。

〈亞特蘭提斯〉組詩顯示，尋求慰問或安慰的過程在受到死亡侵襲的世界裡不斷被顛覆。此外，「所有安慰自己的企圖注定失敗，因為世界比我們還要複雜。我們的解釋必然不足，但人類的工作就是做出解釋」 (Doty, “Souls on Ice”) 〈亞特蘭提斯〉組詩裡的邊界不斷移動與重建，就如潮間帶，以顯示生命與想要闡明現實的語文之不穩定性。六首短詩就像破的茶杯，含有夢想、追憶、解釋、觀察的組合，而詩中的敘述者嘗試在疾病與死亡侵襲之後，重組他的世界。將所有片段連結在一起的是對生命及來生新理解及見解的不斷追求，這使得詩中敘述者可以暫時另有重心與焦點。

Art as Sublimation: A Lacanian Reading of Oscar Wilde's The Picture of Dorian Gray 藝術即昇華：奧斯卡‧王爾德《格雷的肖像》的拉崗式閱讀

學年 / 99　學生 / Joe Hsieh 謝昇佑　指導教授 / Doris L. W. Chang 張瓈文老師　

Among the studies on Oscar Wilde (1854-1900), one important and widely discussed issue is how he develops the concepts about art and life. In The Picture of Dorian Gray (1890-1891), art and life are mixed together but finally restored to their proper positions based on Wilde’s aestheticism. Art is beautiful, but it only keeps its beauty when standing alone from life, including intentions and references. Dorian Gray tends to mix his life with art, but finally we see the only way to realize his maximum pursuit for art in life is to leave art to itself, without any disturbance of life. From the end of this novel and Wildean discussion on art, I want to raise two questions. First, how could we understand the completeness possessed by art, especially represented by the portrait in The Picture of Dorian Gray? And how can we relate this completeness to us as subjects? Second, art is considered exclusive from practical use, which is taken by Vivian in “The Decay of Lying” (1891) saying that “life imitates art far more than art imitates life” (931). In relation to art, life is flawed, but how could we understand the flaw that pushes us to imitate art? What is the making of this imperfection? This thesis tends to answer the questions by applying Lacanian psychoanalysis, which offers us a possibility to realize this reading through the concepts of the Thing and sublimation.

Starting from this point, this thesis would examine Wildean concepts art and life step by step, and use Lacanian theory about sublimation to analyze The Picture of Dorian Gray. The first chapter analyzes Wilde's “The Decay of Lying” and clarifies his attitude about the relationship between art and life: art is flawless but life is flawed. Based on these points, I’ll show that The Picture of Dorian Gray demonstrates how the issue of life and art is complicated in the novel. Dorian Gray is a life but is narrated as an artwork; on the other hand, the portrait of Dorian Gray is its essence as an artwork, but is delineated as life. The mix between art and life is complicated through the journey of Dorian Gray, who wants to transform himself into an artwork through playing not only an actor but also a spectator of his life as art, murdering his own creator. At the end Dorian Gray destroys the portrait which symbolizes his soul, morality, age, and everything it means. I’ll discuss the significance of this scene. The second chapter picks up the unanswered questions left by the novel and starts with an overview on the concepts I’m using from Lacanian theory in this thesis, including the real, the symbolic order, the signification process, the Thing, sublimation, desire, demand, and need. The third chapter begins the analysis from the disconnection process of Dorian Gray and understands it as a Lacanian sublimation process. Also, after an in-depth analysis on sublimation, I’ll move to the analysis on the driving force in Dorian Gray that pushes him to start a journey of sublimation process. This driving force is called desire by Lacan, and it could never be fulfilled. That’s the reason if one wants to absolutely quench the desire, one will go beyond the limit and begins to suffer. In Dorian Gray’s case, he finally destroys himself as a life.

Through the analysis, this thesis offers a reading on the relationship between art and life and how a Lacanian approach can be taken to interpret them in The Picture of Dorian Gray. For both Wilde and Lacan, the essence of art is not representable; however, Wilde's theory of art is highly related to the exclusion from utilitarianism and the discussion of “nothing.” In this case, a Lacanian reading helps explicate art and life through the construction of relationship between art and the "nothing" behind it and between art and life. It enriches Wildean concept of “art for art’s sake” in art and the way we appreciate it.

奧斯卡‧王爾德(1854-1900)為十九世紀末重要的藝術家，影響甚鉅，作品包含小說、戲劇、散文等，以及在美學領域當中的重要發展。師承華特‧派特(Walter Pater 1839-1894)以及約翰‧魯斯金John Ruskin(1819-1900)，兩位在王爾德的大學時期當中具有相當的影響力，也塑造了往後的寫作風格。王爾德在美學作品中非常顯著的一項討論是自然(nature)與藝術(art)之間的對比，在此兩個詞分別代表一種概念，自然泛指自然孕育的事物，包括人的生命、意念、道德觀、動植物等等，都算是生命的範圍；相對之下，藝術代表雕琢過的「作品」，能夠傳達出一種美感。自然與藝術的對立也可見於王爾德的小說當中，朵蓮‧格雷(Dorian Gray)在書中意識到自己即將年華老去，青春不再，因此在此生命最璀璨的時刻，希望能將瞬間化為永恆，於是像畫像許下願望：「如果我能保有青春，而畫中人物代替我逐漸老去，我願出賣靈魂！」願望在潛移默化之中已經實現，但格雷不自知。就此，王爾德「自然」和「藝術」藉由此不可能的願望而混合了。但最後藉由刺殺畫像，自然和藝術兩個概念分離，藝術終於回到畫像之中。本論文以此兩極對比為出發點，試圖用精神分析的觀點來檢視王爾德在《格雷的肖像》中傳達的美學，並提出兩個問題：讀者能以何種方式理解《格雷的肖像》最後封存於畫像中的「藝術」？另外，在〈謊言的沒落〉(“The Decay of Lying”)中，維安(Vivian)提到「藝術是完美，而自然是有瑕疵的」，此觀念也體現於《格雷的肖像》中，讀者應如何閱讀此「完美」與「瑕疵」的對比？

本文分為三章：第一章著重於描述《格雷的肖像》中的美學觀念，並使用〈謊言的沒落〉來解釋，兩者相輔相成。維安所提的四項藝術教條也體現於小說中，藉由「自然」和「藝術」的融合與分離，完成最後王爾德所要傳達的「為藝術而藝術」(Art for art’s sake)。第二章首先提出王爾德在書中遺留下來的兩個問題，並提出使用賈克‧拉崗(Jacques Lacan)的「昇華」(sublimation)概念解釋，輔以「慾望與需求」(desire and demand)。由於拉崗思想體系豐厚，無邊無際，因此本章描述本文會使用及觸及的理論，藉以劃清界限，建構好理論基礎。第三章分析兩個部分，第一個是格雷在書中最後刺殺畫像之景，本文將此動作解釋為開始昇華，而接下來所發生的事情以及遺留下來的結局便是昇華的結果；第二個是解釋格雷為何對生命轉變為藝術如此執著，是因為精神上的慾望與需求在作祟，書中亨利爵士完整描述自己的理論，此理論卻剛好能夠使用拉崗的理論來解釋。

《格雷的肖像》可說是王爾德思想及大成的代表作，雖然筆露鋒芒，引起許多爭議和攻擊，但也因為有這樣的思想和歷練，才有之後其他更多作品的產生，藝術和自然的對比也能繼續在之後的作品當中孕育。透過拉崗的思想，我們更能了解《格雷的肖像》中串連起來的藝術，以及為何格雷會在取得永駐的青春之後還要汲汲營營於各式各樣的藝術，透過昇華，格雷才能在故事最後完成最終目標，將生命化做藝術。

A SPATIOTEMPORAL REPRESENTATION OF SELF-REVOLUTION IN MARGARET ATWOOD’S LIFE BEFORE MAN 瑪格麗特‧愛特伍德《人類生存之前》中自我演進在時空中之再現

學年 / 99　學生 / Teresa Te-yi Yu 游德怡　指導教授 / Cecilia C. H. Liu 劉雪珍老師　

The theme of human survival is one of the major concerns in Margaret Atwood’s works. This thesis investigates how Atwood gives a different representation of space in her fourth novel Life Before Man (1979) by means of providing the reconstructed images of space reinvented by the three characters. As a domestic realism, Life Before Man, on the one hand, with its setting in the contemporary Toronto, describes the domestic everyday life of Elizabeth, Nate and Lesje. On the other, when they fail to find their positions among the interpersonal relationships, the space in reality filtered through their experience become unrealistic. A real body becomes a dissolved shell; a home is turned into a Lego town; and, a museum is fantasized to a prehistoric wildland. With the help of Bakhtin’s concept of chronotope, this thesis argues that through the characters’ spatiotemporal experience, in which the flow of time unlocks the actuality of space, space becomes different chronotopes, which connect the characters’ past, present and future together. The chronotopes thus represent the three characters’ self-revolutions.
This thesis is divided into three chapters, apart from an introduction and a conclusion. In the introduction, I discuss the characters’ vulnerable feelings of self existence and expound how Bakhtin’s concept of chronotope fits into dealing with their problem of the spatiotemporal experience. The first chapter then focuses on Elizabeth’s body as a chronotope. Her uncertainty about her selfhood is due to her ambivalent state of body existence. Trying to maintain her dignity, Elizabeth pretends to be a competent woman so as to protect her dissolved self. Yet Chris’s death as a shock threatens her self- image as a complete body existence. By gradually reminiscing her spatiotemporal experience of the body, Elizabeth decides to face the fact that behind her pretension, her dissolved body image is part of her selfhood. Her body is substantiated as the body chronotope, which represents her self-revolution. The second chapter is the analysis of Nate’s home chronotope. Unable to face the wimpy self, Nate distributes his childhood home, marital house, and the new home into the territories of the women, whom he finds hard to gratify, such as his mother, Elizabeth, and Lesje. Failing to order space for himself, Nate feels disorientated in the different home spaces. The idea of the home chronotope manifests that Nate’s displacement is actually the constant change of his selfhood. The possible change offers him opportunities to transform into a better self. In the third chapter, I explain that Lesje’s fantasy of prehistory is her spatiotemporal journey to find her selfhood. Without a sense of belonging, Lesje regresses to the imaginative dinosaur world to escape from the adulthood. But, when she meets Nate, she begins to engage in a dialogue with reality. From a mere observer to a participant in reality, Lesje unfolds the value of paleontology meaningfully. Her imagination of the dinosaur world resurrects the past and serves as a mirror to reflect our human existence. The museum thus is not only a reservoir of the dead but also a chronotope which epitomizes the heterogeneous life. Finally, the conclusion ends with a reflection about the chronotopic reading of the text and some reference to Atwood’s contemplative concern with human survival in her later works.

本論文探討瑪格麗特‧愛特伍德在她第四部小說《人類生存之前》中，如何從三個迷失自我的角色出發，藉由描繪他們自我演進的過程，再現與真實世界不同的時空樣貌。作為一部家庭生活的寫實主義小說，《人類生存之前》的故事取景於當時的多倫多，表面上描述三個角色的日常生活，然而當他們無法在人際關係中找到自己的定位時，眼前真實世界的場景開始分崩離析，真實的空間隨著他們的迷失因此失真。本論文透過巴赫金的時空體理論來分析這些角色的時空經驗。在其時空體的觀念中，時間與空間是不可分割的兩元素。時間作為空間中的第四次元，使得空間由於回應了時間的流動性而重組。空間不再是單一的實際樣貌，而是隨著角色累積的時間經驗因此實體化為一時空體。時空體超越了實際的空間，連結了角色的過去、現在和未來，同時再現了他們自我演進的過程。
本論文分成導論、結論與三個章節，共五部分。導論討論三個主角薄弱的生存感並詳述巴赫金的時空性理論如何適用在分析主角的時空經驗。第一章著重在女主角伊麗莎白的身體時空體。她對於生存意義的不確定感源自於表裡不一的身體存在感。為了要維護她的尊嚴，伊麗莎白偽裝成強勢的女人，不願面對內心失落的自我。但是克里斯的死威脅了她自認完整的身體形象。藉由回溯她身體的時空經驗，伊麗莎白體悟到她偽裝背後的失落自我也是她身體存在的一部份。她的身體時空體再現了她自我演進的過程。第二章檢視男主角奈特的家時空體。由於無法面對懦弱的自我，奈特將家的時空劃分為屬於那些對他予取予求的女人的領地，例如籠罩著他母親意象的童年的家、和伊麗莎白居住的家，以及和蕾西亞生活的家。因為無法在真實世界中找到定位，奈特迷失了自我。家時空體概念顯示奈特在這些家的時空中不斷置換的經驗其實提供了他轉變的機會，也再現了奈特自我成長的過程。第三章闡明另一位女主角古生物學家蕾西亞對於史前世界的想像是她尋找自我的時空之旅。在真實世界中缺乏歸屬感的蕾西亞退居她想像的恐龍世界裡，想逃脫來自成人世界的壓力。然而當她遇到奈特，她開始和真實世界有了連結；從只是個旁觀者到成為參與其中的一份子，蕾西亞逐步地揭示了古生物學的價值。她想像的恐龍中生代場景呼應了她工作所在的博物館，彷彿她的想像時空再現於真實世界裡。她的幻想使得過去的時間起死回生，並且作為人類的借鏡，反映了人類的生存意義。博物館不僅紀錄逝去物種的存在，也是一彙集了異質性生命的時空體場域。結論中最後統整三個主角的時空再現經驗，並探討愛特伍德對於人類生存的關注在其後續作品中的發展。

CULTURAL CONSTRUCTIONS OF RACIAL IDENTITIES IN ARTHUR MILLER’S FOCUS AND CLARA 種族認同中的文化建構：以亞瑟‧米勒的《焦點》和《克拉瑞》為例

學年 / 98　學生 / Jeff Pan 潘科丞　指導教授 / Kate Chiwen Liu 劉紀雯老師　

This thesis focuses on Arthur Miller’s Focus (1945) and Clara (1987), the two texts demonstrating Miller’s concern with racial identity and racial relations, and discusses how racialization works differently in the two texts partly due to the two historical periods they belong to and partly due to Miller’s changing perspective from a broader social one to a more individualist one. From Focus to Clara, Miller’s works reflect the changing social relations and treatments of race, the former being more collective and binarist in the 40s and the latter gradually moving toward a more fluid, pluralist and de-centered ideology of individualism. Focus represents the hostile relationship and tension between the dominant group and the Jewish minority through the operation of cultural signs and social actions, while Clara questions, through the process of police interrogation and self-discovery, the viability of holistic racial integration based on altruism.

Stuart Hall’s identity theories and Robert Miles’s and Sara Ahmed’s theories of race and racism constitute the main theoretical basis for my discussion of the operation of racism and cultural signs in the formation of racial identity and relations in Focus and Clara. On the other hand, Sigmund Freud’s shock theory is included in order to explain the mental block Kroll, Clara ‘s protagonist, suffers from before his memory recovery and identity reconstruction.

To contextualize my analysis of the two texts, the introduction presents a brief history of the migration and racial inequality in the 20th century United States, Miller’s changing attitude toward racial relations over the years, the two texts’ positions in his corpus, as well as critical views on both Miller’s racial concerns and the two texts.

Chapter one argues that through the process of Newman’s identity formation,
Focus reveals how, in the 40’s of American society, both racial identity and racism are constructed through a variety of cultural signs and social actions, which arbitrarily marked the division between “us” and “them.” Through being defined and rejected as a Jew, Newman learns to form a new identity as a “new man,” though it is still confined to this racial dichotomy.

Despite its increasing racial pluralism and acceptance, the society of the 1980s, as presented in Clara, still witnesses racial inequality and bigoted views of race. Chapter two argues that, instead of focusing on racist cultural signs as he did in Focus, Miller in Clara incorporates them in his presentation of Kroll’s process of identity reconstruction in order to tease out both the merits and dangers in breaking down altruistically racial boundaries between “us” and “them” in a pluralist society.

The concluding chapter, then, points out that Miller’s different but consistently complicated treatments of racial relations in the two texts suggest that race relations can never be simple, but always socially, culturally, politically, nationally, and internationally interconnected. Focus and Clara thus pose to their readers a never-ending question of how to relate to racial others in different social contexts without simplifying them.

本文藉由亞瑟‧米勒的《焦點》和《克拉瑞》，來探討與呈現美國40和80年代的「種族化」概念如何影響米勒對「種族認同」以及「種族關係」的不同的詮釋。此二部作品分別反映出「種族」一詞在歷經社會變遷和米勒的作品主題轉移之後(從深信二元對立的社會取向轉為接受多元的個人取向)所產生的不同定義。讀者可觀察到，猶太人和非猶太人在《焦點》中緊繃的對立關係是如何被「文化符碼」及社會行為所強化。80年代出版的《克拉瑞》則顯示米勒在其作品中添加了種族多元概念對當時美國社會的影響，以及米勒如何藉著這個概念對過度實行「利他主義」的行為和盲目的「種族融合」提出質疑和反思。

本文使用史都華‧霍爾的「認同理論」和羅伯‧邁爾斯、莎拉‧阿米德在「種族主義」上的學術論點來探究「種族主義」、「文化符碼」、「種族認同」、「種族關係」等思想如何呈現在米勒此二部作品中，並討論這些思維之間有何相互關係。除此之外，佛洛伊德的衝擊理論(Shock Theory)也在本論文中被用來解釋《克拉瑞》劇中主角的心理/記憶阻隔。

此論文分為四部分：緒論、第一章、第二章和結論。讀者在緒論中可看到美國二十世紀的種族不平等待遇及移民史，並了解米勒對「種族關係」看法的改變，更可體察此二文本在米勒作品中的地位及學術評論對此二文本的關注為何。

第一章藉由《焦點》主角(紐曼Newman)的自我認同過程來說明40年代美國社會的「種族認同」和「種族主義」，是經由許多「文化符碼」和社會行為所建構而成。此建構方式除了將當時的社會一分為二(我者/他者)，也無庸置疑地迫使紐曼傾向猶太族裔的「新認同」受限於非我即他的種族二分法則之內。

第二章指出，雖然《克拉瑞》劇中角色處於提倡種族多元概念的80年代，他們仍無法逃出充滿種族歧視和不平等待遇的社會環境或思維。此外，本章更深入探討主角克羅(Kroll)如何藉著利他主義來重新建立自我認同並且重拾記憶，以及點出米勒認為盲目的利他主義對突破種族二元論所產生的正面價值和危險。

最後，本文的結論不僅重申米勒在不同時期的作品中仍然維持著對「種族關
係」議題的關注，而《焦點》和《克瑞拉》也說明了此議題和社會、文化、政治、國族以及跨國之間絕非單一關係。因此，此二部作品使米勒的讀者繼續思考應當如何避免在不同的社會背景與環境之下過分簡化種族議題及其多元的相關性。

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

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

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

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

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

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

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

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

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

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

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

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