<<辨識櫻桃的性別>>一書充滿嘉年華化的元素：兩個時空的對話，鑲嵌的文類，圖片，童話故事，烏托邦，扮裝，怪誕的肉體形象等等。在一個上下到錯的世界裡，溫特森徹底顛覆現實世界中所信奉的真理與事實。在這本小說中﹐溫特森主要在探討同性戀與性別混淆(gender blurring)的議題。本論文旨在分析性/性別議題，指出傳統上女性情慾與身體是如何被呈現，以及如何從女性主義的觀點重塑之。 本論文以女性主義對話論為基本理論架構。論文主體可分文三部份。第一部份旨在分析小說中的對話關係，包括了鑲嵌的文類間的文本交互指涉，及角色間的對話關係。第二部份是分析女性如何在嘉年華化的世界裡建立女性的語言。第三部份，旨在分析扮裝，詭異的肉體形象與雌雄同體等概念。 在溫特森的小說世界裡，性/性別的二元對立基礎受到質疑。隨著二元對立基礎的瓦解，對於另一種選擇的渴求應運而生。另一種選擇是一個混合物(hybrid)，屬於雌雄同體。小說中，溫特森以"接枝過的櫻桃"(the grafted cherry)來代表這種混合物。藉著認定混合物是屬於較優良的品種，溫特森也間接說明了她對多重性/性別的肯定立場，許給讀者一個美麗新世界。在這個美麗新世界中，多重性/性別認同都應被接受。 / Sexing the Cherry is a novel that smacks of carnival elements: suggestive dialogues of two epochs, incorporated genres, illustrations, fairy tales, utopia, cross-dressing, the grotesque body, and so on. In such a turning-upside-down world, Winterson screws up the truth and reality that stabilize the world we live in. In the novel, Winterson’s high concerns are the issues of homosexuality and gender blurring. My thesis aims to tackle gender and sexual issues and to indicate how woman’s sexuality and body have been traditionally represented and of how they could be rewritten with a feminist awareness. The idea of Feminist Dialogic constructs the theoretical framework of my thesis. The main body of the thesis can be divided into three parts. Firstly, I will examine the dialogic relations of incorporated genres and characters. Secondly, I will probe into the topsy-turvy world, a carnival world in which women can create a female language. Thirdly, the issues of cross-dressing, the grotesque body and androgyny will be elaborated. In a Wintersonian world, the dichotomy of gender and sex has been questioned. With the breakdown of the binary foundation, an appeal for a third choice emerges. The third category is a hybrid, an androgyny. Winterson uses the grafted cherry to embody the image of the hybrid. By suggesting the hybrid as a better alternative, Winterson celebrates the flexible gender and sexual positions and promises readers a brave new world, in which people accept multi sexual and gender identities.

本篇論文企圖運用三種理論，包括傑克森（Rosemary Jackson）的奇幻理論、巴赫金（M. Bakhtin）的嘉年華理論、和依蕊格萊（Luce Irigaray）的假面理論 （masquerade），來分析安琪拉•卡特的《馬戲團的奇幻世界》。本篇論文討論小說中用來解構二元對立以及社會成規的的顛覆的元素。本篇論文分成五個部分來討論。 論文的第一章提供了卡特生平和三個理論的簡略的介紹。論文的第二章以傑克森的奇幻理論為基礎，探討如何以奇幻的呈現手法，達到反動的功用，以為被壓抑的族群發聲。這章也討論到傅柯（Michel Foucault）的圓形監獄的理論。而藉由奇幻理論，小說中的角色和事件，呈現出那些被歸類為不好的、被壓抑的，其實都是權力運作下所產生的。第三章以巴赫金的嘉年華理論來分析小說。文本中的馬戲團，就像是嘉年華世界的化身，充滿了不尋常的事件，舊有的觀點也一一的被挑戰。而藉由這些事件，世俗成規被顯露出來只是建構出來的，而不是本來就存在的。第四章著重於性別方面的議題。以傅柯的權力理論、巴特勒（Judith Butler）的表演理論，和依蕊格萊的假面理論來探討性別成規，以及書中如何打破這些性別成規。最後，本篇論文，以這三種理論，來顯示出小說中對二元對立的解構和對社會成規的反動。 / This thesis aims to analyze Angela Carter’s Nights at the Circus with three theories, inclusive of Rosemary Jackson’s theory of fantasy, Mikhail Bakhtin’s carnival theory, and Luce Irigaray’s theory of masquerade. The thesis discusses the blurring elements which aim to deconstruct and to denaturalize received notions and binarism. The thesis is divided into five parts. The first chapter gives a brief introduction of Carter and three theories. The second chapter discusses the function of the fantastic as a method of revealing the repressed. In this chapter, Michel Foucault’s theory of panopticon is also discussed. Through fantastic events and characters, the novel shows that what is forbidden and repressed results from workings of power and discourse. The third chapter analyzes the novel in terms of carnival. The circus is the embodiment of a carnivalesque world in which things are turned upside down and conventional conceptions are challenged. Characters and events that happen in the circus work to reveal the constructedness of norms in society. The fourth chapter, with a focus on gender binarism, analyzes the novel in respect of the idea that gender is performative. This chapter starts with a brief introduction of Foucault’s discursive theory and Judith Butler’s theory of performativity. Then, Irigaray’s masquerade is applied so as to demonstrate the notion that gender is formed out of power relations. In conclusion, by interpreting the novel with these three theories, the thesis aims to show the constructed nature of binarism and to introduce different perspectives.

艾略特經常被視為高蹈派的現代主義作家,他的主要任務是捍衛精英藝術的純粹性,以對抗大眾文化的入侵。這樣的看法加深現代精英藝術和通俗大眾文化之間的分野。將艾略特歸類於屬於現代精英藝術作家的陣營,簡化了其作品的深刻性。在後現代的年代中, 精英藝術和大眾文化之間的分野逐漸糢糊。採後現代主義的觀點來閱讀艾略特的作品,批評家發現艾略特熱愛大眾文化的一面。跟隨前人研究的腳步,本論文主要工作之一,即是探討艾略特兩部詩劇--史威尼論爭與家園重聚中大眾文化的成份。 巴赫汀是二十世紀重要的文學理論及評論家。對於文學中,尤其是小說這個文類中,對話與嘉年華的現象的研究,論述豐富,為此派理論與批評的大師。採用他的嘉年華理論作為本論文的研究方法,目的在闡釋艾略特的作品,其實遵循了嘉年華的文類傳統。而透過艾略特的努力,此一文類傳統的語言不僅更加豐富,同時也得到新生。在本論文中,史威尼論爭與家園重聚中的多音性與嘉年華的現象為研究的主題所在。 另外,以巴赫汀對怪誕的現實主義的描述為範本,這兩部詩劇當中的市場語言,節慶的形式或醜怪的意象也予以探究。這些研究結果發現,史威尼論爭與家園重聚中大眾文化的成份,以及嘉年華的精神是不容忽視的。 Table of Contents Chinese Abstract English Abstract Abbreviations Introduction------------------------------------------------1 Chapter 1: T. S. Eliot’s Poetic Drama and M. M. Bakhtin’s Theory of Carnivaliztion-----------------------------------18 Chapter 2: Carnivalization in Sweeney Agonistes------------39 Chapter 3: Carnivalization in The Family Reunion-----------66 Conclusion-------------------------------------------------93 Bibliography-----------------------------------------------96 / T. S. Eliot is usually considered by critics as a representative of the high modernist writer whose mission is to protect the purity of high art from the contamination of the popular culture. Such an opinion is to underpin the dichotomy between high modernist art and low popular culture. By taking Eliot on the side of high modernism, critics tend to simplify the profundity of Eliot’s works. In our postmodern age, that the phenomenon of the increasing blurred boundaries between high art and popular culture is quite obvious. David Chinitz applies such a postmodern vantage point to read Eliot’s works and shows us that Eliot is a lover of popular culture. Following Chinitz’s study, I intend to examine the elements of popular culture in Eliot’s two poetic drama – Sweeney Agonistes and The Family Reunion. M. M. Bakhtin is an important theorist and literary critic in the twentieth century. His achievement on the theories of dialogism and carnivalization is significant. Applying his theory of carnivalization to read Sweeney Agonistes and The Family Reunion, I hope to argue that Eliot, be it consciously or unconsciously, follows the genre tradition of carnivalization. Moreover, he enriches and perfects the language of this genre tradition and thus makes this genre tradition reborn and renewed. In this thesis, I argue that Sweeney Agonistes and The Family Reunion are constructed under the principles of polyphony and carnivalization. Besides, based on the material bodily principle of grotesque realism, an analysis of the grotesque elements in these two works, such as marketplace languages, or popular-festive forms and images, or banquet images or images of bodily low stratum, is given in this thesis. To a conclusion, through this Bakhtinian reading, the elements of popular culture and the carnivalistic spirits in Sweeney Agonistes and The Family Reunion are revealed.