毛澤東做為中華人民共和國創建後的第一位最高領導人，自他崛起以至逝世為止，被建構出的形象若說沒有任何變化，那是匪夷所思的事。本論文以創作於1929年的目前所知最早論及毛澤東形象的小說為起始，以1976年毛澤東逝世這一事件為終點，從版畫、油畫、年畫、宣傳畫、雕像、像章、郵票等圖像，以及小說、民歌、中共黨史編纂學等與毛澤東相關的媒體，較全面地探討他於這段時期的公眾形象。 1930年代末至1940年代，隨著毛澤東權力的擴張、整風的進行以及國共關係的變化等，毛澤東被形塑成可與蔣介石相抗衡的新領袖人物，而其「救星」形象也使傳統對神靈的崇拜轉移到了毛澤東和其領導的黨身上，使毛澤東像代替了農村家庭中供奉的神像。1949年以後，中共傾國家之力，逐步建構起一套關於毛澤東的新信仰體系，最終並演化成文革時期的造神運動。在這過程中，各式各樣的稱號、形容詞被冠冕在毛澤東身上，他的形象逐漸被加載了更為繁雜的政治符號，並以各種物化的樣貌展現在眾人面前。

迷研究自Fiske在1989提出迷是一種閱聽人以來，研究取向多以迷為主動閱聽人此概論為主探討其的主動性，再者在探討迷與偶像的關係時，多以「認同」、「愉悅」、「創作」以及「模仿」為主，此種樂觀的態度探討兩者的關係，忽略了迷是會有不再迷戀偶像的可能。 本研究以此研究途徑出發，探討迷從迷戀偶像到不再迷戀偶像過程中的變化。透過質化取徑的深度訪談法，訪談十二位曾經為w-inds.迷的閱聽人，希冀透過與十二位受訪者的訪談，了解閱聽人成為迷之後的原因與行為，以及不再迷戀偶像後的原因與行為。 在整理訪談資料後提出以下研究發現：首先，閱聽人會因為偶像的外型、作品，在大眾媒體的曝光以及周儕團體與家人的推薦之下迷戀偶像，透過消費偶像商品、創作文本、參與演唱會、加入迷社群的方式表達自己對於偶像的喜愛，迷戀的過程也會有較為隱私的內在心理反應。其次，因為偶像的緋聞與轉變、自己的個人因素以及與他人的衝突不再迷戀偶像。不再迷戀偶像後會減少消費偶像商品的次數，退出原先加入的迷社群，也會出現負面行為以諷刺的言語評斷原先迷戀的偶像；最後，本研究亦發現若是迷當初是因為偶像的作品而迷戀偶像的話，只要偶像的新作品能夠再一次吸引到迷，這時候是有可能再一次迷戀偶像的。 / Since the study by Fiske in 1989 that fans are a type of audience, research on fandom has mainly focused on the proactiveness of fans. Furthermore, when exploring the interactions between fans and their idols, it is usually in the form of “agreement,” “pleasure,” “creation,” and “imitation.” Studying the relationships between both parties with such optimistic attitudes neglects the possibility that fans might someday lose interest in their idols. Based on the research context above, this study investigates the changes during the process of how fans begin and cease worshipping their idols. Through in-depth interviews of 12 w-inds. audiences, who were once fans, hope to understand the reasons for audiences becoming fans and their subsequent behaviors, as well as the reasons that they stop worshipping their idols and their subsequent behaviors. The following was found after data collation: firstly, audience members become fans due to their idols’ appearance, creative works, mass media exposure, and recommendations from peer groups and family members. The fans express their devotion by purchasing products related to their idols, writing fan-fictions, attending concerts, and joining fan organizations. During the process of idolization they also have inner psychological reactions. Next, gossip and changes in the idols, personal factors related to fans, and conflicts with others could result in the termination of their idolization. This leads to reduced frequency of purchasing products related to their idols, leaving fan groups they had previously joined, and even the use of ironic language when judging idols they had previously worshipped. Lastly, if fans initially idolized an idol due to their work, and if the idol can present a new creative work that can again attract the fans, then the audience members might once again become fans of the idol.

本文是對人類自由心靈的探究，藝術作品則是做為探索的中介；藝術作品中的審美感性作用本是「私己的」，然而，由於藝術作品來自於社會的集體生產，使得藝術作品在私人審美之前，早已沾染「他人」的價值判斷─私密的審美其實是社會性的。審美價值的傾注及接收皆在不知不覺中進行著，審美之人在接受、認同審美價值的過程中，總是帶有拜物教的形式意味；而拜物教又與人類的宗教崇拜心境直接關聯著，因此，本來看似「自由」的審美體驗，其實與象徵「束縛」的權威互為條件，事實上，走在自由的路上就是走在服從權威的路上。「詮釋」則被視為是審美價值傳遞的必要媒介，亦是使得拜物教形式得以可能的必然現象。 / This article is an inquiry about freedom of human’s mind, the artwork is presented as intermediary of it. Aesthetic function is originally private, but actually is embedded with “fait social” by dint of artwork’s social-production character , which makes every man’s aesthetic values is utterly infiltrated by ”Others” before they make their own judgment : aesthetic judgment which appears private is in fact social-collected. The impregnation and absorption of aesthetic values always processes in state of unconsciousness. When people intake and approve the values given by others, they worship in form of fetishism ; Fetishism is associated with the worship of religion, therefore aesthetic experience containing human’s free choice is correlated with authority symbolizing constraint. In fact, when we quest for freedom, we’re at the same time in quest of conformity. Explanation is regarded as necessary intermediary communicating aesthetic judgment as well as indispensable phenomenon conditioning the worship of fetishism.

因為對「台灣有成為神明的日本人。」──一事感到意外與稀奇，所以提到日本人神明的情況大多與宗教無關。在日本，日本人神明主要被當作「日本人在殖民地台灣時受尊敬而成為神明」的根據，而在台灣，日本人神明往往成為「什麼都要拜的奇妙民間信仰」的例子。然而，台灣的日本人神明並不是政治事物，也不是憑空捏造的奇妙東西，更不是單純的尊敬對象。而是循著台灣民間信仰法則的自然信仰活動裡面所產生的信仰對象。本論文由民族學觀點，透過文獻研究及田野調查來印證此事。本研究為讓宗教回歸於宗教，在消除對於日本人神明誤解的同時，透過日本人神明，再探討傳承延續至現代的漢人民間信仰傳統，並提出對陌生新神明有所輕視的問題意識。 本論文除緒論與結論之外，共分為五章。 緒論中為日本人神明下定義，並回顧曾提到過日本人神明的文獻，還介紹本研究所沒有調查過的東部案例。而且，舉出未成神的日本人案例，與日本人神明的性質做明顯的對比。 第一章整理台灣民間信仰的神明概念，掌握其宇宙觀的概要，同時點出神明概念中的模糊性。而且，借由在台灣民間信仰中占有很重要位置的「人神」概念，試圖提供跨越主觀的「鬼」與「神明」二分法觀點。 第二章提到在日本人神明中歷史最久且發展最興盛的義愛公，論述其人物簡歷、成神過程、祖廟與分廟的祭祀實況並做分析。 第三章介紹台灣各地的日本人神明，論述其成神過程與祭祀狀況。 第四章由宗教觀點與歷史觀點分析台灣的日本人神明。而且，試圖分析各個日本人神明的性質。 第五章試圖與日本的人神崇拜作初步比較。首先介紹日本的人神崇拜概況，讓讀者認識日本民間信仰，同時對台灣人神提供了新的觀點。而且，最後以案例研究中所提到的「增田神社」，來與台灣人神崇拜做比較。

論文題目：群體規範、認知、認同對產品態度與忠誠度的影響－以青少年之偶像崇拜行為為例 校所組別：國立政治大學國際貿易學系碩士班國際企管行銷組 論文摘要別：九十學年度第二學期碩士學位論文摘要 研究生：莊曼潔 指導教授：邱志聖博士 頁數：81 關鍵字：群體規範、認知、認同、態度、忠誠度、偶像崇拜 論文摘要內容： 東方群體主義的社會中，大多數人皆會在乎別人的眼光及看法，導致每個人在購買產品及使用行為上，或多或少都受到別人的影響。同儕團體、參考群體、文化的壓力會左右消費行為，因而在做採購決策時不是全憑個人的好惡，還參雜了相關他人的看法，社會影響力會左右每個人對產品的評價及選擇，特別是在購買外顯產品時這種現象尤其明顯。 本研究欲將以往探討滿意與忠誠度關係的架構加入社會影響力變數，探討在群體規範的壓力下或個人本身對於群體依附程度的不同，在認知與態度、認同與態度、態度與忠誠度、認同與忠誠度間之關係是否有顯著差異。 研究結果發現，不論是記名問卷或是不記名問卷，認知對態度、群體規範對態度、認同對態度、認同對忠誠度、態度對忠誠度皆有顯著影響，亦即不論其知覺到之社會影響力多寡，對產品的態度不僅會受到本身對產品認知的影響，亦會受到群體規範和品牌認同因素的影響，而態度和品牌認同會進而創造品牌忠誠。 其中知覺到之社會影響力較低者，品牌忠誠主要是由其本身對品牌的高度認同而來，而知覺到之社會影響力較高者，品牌忠誠主要是透過認知影響態度，再由態度影響忠誠度而來。 在群體依附焦慮部分，「高群體依附焦慮者」及「低群體依附焦慮者」，兩者在架構上均顯著，但並無顯著差異。其可能的原因有：問卷並未對群體作特定化定義、受訪者已內化為自己的態度、受訪者未依照其真實情況回答。

隨著網際網路的盛行以及科技的發達，消費者對於經由網路下載未授權音樂的情形也越來越多。根據報告指出，盜版音樂導致全球音樂產業每年減少42億元的收益；而台灣唱片的銷售量在10年間也成大幅萎縮的現象。本研究將試圖根據消費者的知覺風險及偶像崇拜行為做為變項，討論此變項對於消費者下載未授權音樂態度及意圖的影響，並針對台灣及美國地區進行跨國研究。希望能藉此研究能從找出一個有效制止盜版行為的方式，或是提供一些有價值的想法來解決這個問題，替音樂產業找尋找到可供發展的參考之道。 本研究利用情境模擬分析，將消費者的知覺風險分為低、中、高三種，與有無偶像崇拜進行模擬，可得六種情境，分別為：高風險有偶像、高風險無偶像、中風險有偶像、中風險無偶像、低風險有偶像、低風險無偶像。並針對台灣與美國地區消費者隨機發放問卷。 在資料分析部分以多因子變異數進行分析，發現在消費者下載未授權音樂的態度上，知覺風險以及國家兩變項主效果顯著，且知覺風險、偶像崇拜、國家三變項之間有交互作用產生；在意圖方面除了主效果顯著之外，在風險與國家之間也有交互作用產生。 利用分析完的資料進行解釋、討論以及建議可得：知覺風險對於消費者下載未授權音樂的態度和意圖有顯著影響，知覺風險高的消費者有較負面的態度；而偶像崇拜則對消費者下載未授權音樂的態度和意圖沒有顯著影響；台灣地區消費者相較於美國地區消費者，在下載未授權音樂的態度和意圖上皆比較正向且有意願。

在世界文學發展過程中，有一種顯而易見、又不容忽視的現象：即某一種典型意象，在不同主題的文學作品中反復出現；某一種表現手法，在不同時代的文學作品中被有意無意的再現。即使在一些經典性的文學作品中，深刻的思想、錯綜複雜的感情，總表現在有跡可循的模式或象徵符號中，成為人類深層的經驗圖式，隱含著超越時空的永恆價值。其實，這些主題早就存在於人類生活中甚至神話傳說，並成為文藝創作特別是文學意象和象徵的一個重要泉源。在中國文學作品中普遍可見的「桃」，就是這種象徵符號。它的花開在文學的莖脈中，它的果結在信仰的枝枒上，它的根更是深深扎進民俗的土壤□。它的繁衍，不僅是初民的食物來源之一，也是人們寄寓美好奇麗想像的對象；它的成長，不僅須經歷四時寒暑風雨，也經受了千年來變動不居的文化風暴。舉凡個人的愛情、婚姻、生子與壽夭，團體的禳災、辟邪、除禍與祝禱，這些眾所熟悉的象徵與作用，都是它一圈又一圈向外擴張、深深烙印在人類文化中的年輪。本研究即試圖從神話古籍以及中國少數民族創世傳說等神話材料著手，抽繹出初民在桃身上所寄託的無意識心理，並參驗相關文學作品為佐證，檢視桃意象在中國文學中的象徵文化意涵，以呈現其跨越時空持續存在的背後力量。 / In the development of world literature, there is one phenomenon that is apparent and cannot be ignored: certain typical imagery repeatedly appears in the literary works among various topics; certain way of expressing ideology has been intentionally or unintentionally re-used in the literary works at different times in the history. Even in some classic literary works, profound thoughts and intertwining and complicate emotions are always embedded in the traceable models or symbolic symbols. This approach has become an empirically mental imagery of humankind and implicitly carried the everlasting value that transcends time and space. In fact, these themes have long been existed in the lives of humankind even in the mythology and fables. They have also become very important sources of literary invention, especially in the literary imagery and symbolization. "Peach", commonly seen in Chinese literary works, is a symbol of this symbolization. It blooms on the stem of literature, is ripe on burgeon of belief, and deeply roots in the soil of folk customs. Its gradual increase in number is not only a source of food for ancient people, but also has become the object which people will relate their wishes and imagination to. Its growth not only needs to go through four seasons, cold, hot, wind and rain, but also it has to withstand the cultural storms that are constantly changing and unstable over thousands of years. These well-known symbolizations and effects such as personal affection, marriage, delivery, birthday and death, group's praying for eliminating catastrophe, driving off evils, avoiding disasters, and benison, are all its continuous extensions and they are deeply imprinted in the growth rings in the culture of humankind. This study attempts to start with studying the literature including mythological classic books and world creation legends among China's minority races to deduce the unconscious mentality associated with the peach that antiquity has put into. We will also use evidences in literary works as a supplemental proof and study the symbolic, cultural implication of peach imagery in Chinese literary works to reveal its continuously existent and sustaining strength behind that transcends time and space. Summaries of each chapter are as follows: Chapter 1, Introduction: Research Motivation, Scope and Methodologies It starts with the motivation and steps of this research. It also defines the research direction to help effectively accomplish the objectives of this research and provide a macroscopic view of this research. The method uses "Psychological Archetype" of Carl Gustav Jung (1875-1961) and "Literary Archetype" of Northrop Frye (1912-1991) as the base vision, and uses the literature as the primary research sources supplementing with the unearthed literature, i.e. a methodology of using multiple sources of evidences. By adopting this approach, we will identify and deduce the metaphorical role of "Peach Imagery" and explicate the profound meaning of "Peach Literature". Chapter 2, Primitive Thought and Plants Worshipping This chapter starts with the investigation of the thinking of antiquity's creation of ancient mythology to understand the principles of creating mythology and explicate the development of primitive thought (or myth thought). This will help capture the characteristics of primitive thought to facilitate the following research in the mythology and archetype. The "peach", the primary role in this research, is a holy tree second to hibiscus tree in China. Therefore, we will also investigate the consciousness of plants worshipping based on the views of ancient people's reliance on plants and the primitive thought of treating every thing to be a living being. At the same time, we zoom in the worshipping of holy trees in China to depict the origins of plant's holy and sacred imagery. Chapter 3, Deification and Mythology of Peach The creation of literary works is absolutely not an invention of any individual. Literary works should be studied in the context of entire scope of literature. The study in the literary history concludes that literature, as an organic entity, is rooted in the primitive culture: the model of initial literature must trace back to the religious ceremony, mythology and legend in ancient society. This chapter will mainly study the "peach" in the mythology. In Chinese mythology, though there is no mythology and legends centered around the peach, yet peach often shows up in activities or events associated with figures in the mythology and in some research as well. In this chapter, the author will base on a different angle of symbolization of symbols – use peach as the primary theme supplementing with figures in mythology or events – and use the method of reviewing mythology and archetype to re-investigate the mythological imagery of peach and to depict the cumulative and settling original imagery of peach in the mythology. Chapter 4, Displacement: Peach Imagery in the Poem and Literature Due to the attraction of Tao Yuanming's "Peach Blossom Shangri-la", the "arcadia" becomes the pronoun of Chinese Utopia and has displayed strong strength of life in Chinese culture. It also deeply influences the consciousness and conducts of Chinese scholars. Though the topic of this chapter is "Peach Imagery in the Poem and Literature", the discussion will focus on the article of "Peach Blossom Shangri-la", supplementing with the literature related to "Peach Blossom Shangri-la", and continue to adopt the method of reviewing mythology and archetype to explore and reveal its implicit, inhibitive, and profound meaning. Chapter 5, Displacement: Peach Imagery in Fable and Drama Based on the angle of archetype review, the clue to induce the law of literary development and evolution is the "displacement" of the archetype. The original mythology and literature will be displaced into a new literary genre along with the progressing of the development in the society. Therefore, after investigating the origins of peach and mythology, and the "arcadia" imagery, this chapter will use more literary works – mainly focusing on novels, dramas (for example, "Journal to the West", "Peach Blossom Fan"), and fables (for example, the story of Emperor Wu of Han China and the story of Liu、Ruan) to reveal peach's model of mythology and its consciousness of archetype in the literary works, as well as how does it stimulate the collective unconsciousness: concern toward life. Chapter 6, Conclusion: Archetype of Life After investigating the symbolic implication of peach from mythology to literature, this chapter will draw conclusions of this research – using the symbolic implication of peach to depict humankind's resisting mentality against death. Even until nowadays, we still can see various cultures of symbolization appearing in the folklore events that use peach imagery. The common mentality behind may be explained as that humankind's strong denial against death over many generations and the unchanging longing for eternal life.

北斗崇拜是一個悠遠的信仰母題，它作為文化基因被各個宗教傳統所分有。任何一個微小的儀式細節背後都有一個大的信仰傳統作為其理論支持，本文意在討論北斗崇拜作為一個龐大星辰信仰的分支如何在法教儀式中實踐。本文將北斗崇拜聚焦於星命與本命的議題，選取台灣北部獅場補運和台灣南部進錢補運兩則大型補運儀式作為田野研究對象；從魂魄觀、性命觀兩個角度討論北斗崇拜在補運儀式中所載負的療癒特質，進而檢視法教和道教在儀式傳統、療癒觀念上的區別。最後，從文化、社會兩方面重新審視漢人的「致—治」病的觀念，試圖說明一個完整的宗教療癒理論可以將疾病與治療平行放在社會文化脈絡中進行考察。本文試圖建立「北斗崇拜——補運儀式——宗教療癒」這一範式，將其視為日常生活中解決生命危機和災厄困境的一種宗教邏輯，而非一個儀式操作上的絕對標準，試圖說明北斗崇拜如何在時間、空間各個方面影響著台灣漢人的日常生活。 / The Great Dipper worship has a long history and tradition, it is assimilated into various religions as a Cultural Gene.Every ritual action is supported by a big theoretical system, this article is intended to explain how are the Great Dipper worship practicing in the Faism ritual as a branch of the huge stars belief.This article focuses on the subject of star mandate(星命)and destiny, chooses the Luck Replenishing Ritual by exorcising of Northern Taiwan and Luck Replenishing Ritual of Southern as the locations of field investigation, to analyze the healing practice of Great Dipper both in view of soul-body and nature-life, so that we can explain the difference between the Fa and Dao in ritual and healing concept .At last, re-examine the concepts of getting and healing disease through both cultural and social approaches. This article attempts to explain a complete religious healing theory can place disease and its treatment both in a social and cultural context. The article tries to establish a paradigm about the Great Dipper worship, Luck Replenishing and Religious Healing, by which to discuss how the Great Dipper worship affects the daily life in society of Han nationality in various dimensions to help them solve life crisis and disaster as a religious logic rather than an absolute standard of ritual.

為瞭解青少年偶像崇拜行為之現況，以及青少年偶像崇拜行為與人口變項（性別、年級、家庭社經地位）、家庭變項（親子互動關係類型）、自尊變項（家庭自尊、學業自尊、身體意象自尊、社會人際自尊、利他自尊、整體自尊）、學業成就等背景變項之關係，乃以台北地區國一和國三學生1135名為研究對象，採用家庭社經地位調查表、偶像崇拜問卷、親子互動關係量表、自我尊重量表等研究工具來獲取所需資料，再以卡方考驗、K-W考驗、平均數差異t考驗、Pearson積差相關、變異數分析等統計方法進行分析。結果發現： 1.青少年最崇拜的偶像依序為：「影視明星」（44.8%）、「卡通小說人物」（9.6%）、「父親」（9.1%）、「母親」（8.0%）、「同學朋友」（5.6%）、「運動員」（5.6%）、「其他偶像」（4.6%）、無偶像（3.9%）、「歷史人物」（3.8%）、「師長」（3.1%）、「政治人物」（1.9%）。 2.崇拜不同類型偶像的青少年，對偶像的「外型」、「個性」、「才能」、「成就」、「很會賺錢」等崇拜原因的重要性排序具有顯著差異。 3.崇拜「影視明星」的青少年，會到機場接機、守在偶像出現的場合，或是請假、蹺課去看偶像者實屬少數，且從事上述崇拜行為者多為女生。 4.男生崇拜「父親」、「運動員」、「歷史人物」的人數顯著多於女生，而女生崇拜「影視明星」的人數則顯著多於男生。 5.來自中上家庭社經地位的青少年，崇拜「影視明星」的人數顯著少於來自中等及中下家庭社經地位的青少年；來自中上家庭社經地位的青少年，崇拜「政治人物」的人數卻顯著多於來自中等及中下家庭社經地位的青少年；而家庭社經地位為中下的青少年，崇拜「政治人物」的人數顯著少於中上及中等家庭社經地位的青少年。 6.男生顯著偏好崇拜男偶像，但女生對男、女偶像的偏好並無顯著差異。 7.女生對偶像「外型」的重視甚於男生，而男生對偶像「很會賺錢」的重視則甚於女生；國一學生對偶像「外型」的重視甚於國三學生，而國三學生對偶像「才能」的重視則更甚於國一學生；來自中下家庭社經地位的青少年，對偶像「外型」的重視更甚於中等及中上家庭社經的青少年。 8.女生對偶像的崇拜強度顯著高於男生；國一和國三學生偶像崇拜的強度並無顯著差異；而來自中上家庭社經地位之青少年，偶像崇拜強度顯著高於來自中下家庭社經地位之青少年。 9.父子互動關係為「聚頻心繫」的青少年，崇拜「父親」的人數顯著多於「聚疏心繫」、「聚頻心離」、「聚疏心離」的青少年；父子互動關係為「聚疏心離」的青少年，崇拜「父親」的人數顯著少於「聚頻心繫」、「聚疏心繫」、「聚頻心離」的青少年；而父子互動關係為「聚疏心離」的青少年，崇拜「影視明星」的人數顯著多於其他父子互動關係類型的青少年。 10.父子互動關係為「聚頻心繫」與「聚頻心離」的青少年，對偶像崇拜的強度顯著大於父子互動關係為「聚疏心繫」的青少年。 11.母子互動關係類型不同的青少年，崇拜的偶像類型與崇拜強度均無顯著差異存在。 12.高家庭自尊的青少年崇拜「父親」的人數顯著多於中自尊與低自尊者；低學業自尊的青少年崇拜「影視明星」的人數顯著多於高自尊與中自尊者；而高整體自尊的青少年崇拜「政治人物」的人數顯著多於中自尊與低自尊者。 13.低家庭自尊的青少年較中、高自尊者更重視偶像的「外型」；中、低學業自尊的青少年對偶像「外型」的重視更甚於高自尊者。 14.學業自尊愈低的女生，對偶像崇拜的強度愈強；身體意象自尊愈高的青少年，對偶像的崇拜強度愈強；利他自尊愈高的青少年，對偶像的崇拜強度愈強。 15.學業成就優劣不同的青少年所崇拜的偶像類型無顯著差異。 16.低學業成就的青少年對偶像「外型」、「很會賺錢」的重視甚於中、高成就者；而高學業成就的青少年對偶像「才能」、「成就」的重視則甚於中、低成就者。 本研究根據上述研究結果加以討論，並針對家庭教育、學校教育、社會教育及未來研究等四方面提出數點建議，以供青少年輔導工作及後續研究參考。

烏托邦體裁文學的創作自托瑪斯•摩爾(Thomas More)時代至今，已有近五百年歷史。在這一漫長的進程中，由於受到不同社會文化思潮影響，使得烏托邦文學呈現多元的面貌。二十世紀前半葉，烏托邦文學中發展出反烏托邦與解烏托邦形式的小說，例如：薩米爾欽(Е.И. Замятин)的《我們》(Мы)、赫胥黎(A. Huxley)的《美麗新世界》(Brave new world)與歐威爾(G. Orwell)的《一九八四》(1984)。二十世紀後半葉，受到後現代主義的影響，烏托邦文學呈現出不同於以往的風格。前蘇聯第三波流亡作家沃伊諾維奇(В.Н. Войнович)於一九八六年完成的解烏托邦小說《莫斯科二O四二》(Москва 2042)，無論是體裁、語言以及文本中的個人崇拜神話結構，皆表現出濃厚的後現代主義徵候。本論文將以沃伊諾維奇的《莫斯科二O四二》為例，分析後現代主義浪潮下解烏托邦小說的特點。 關鍵詞：後現代主義、烏托邦文學、烏托邦、反烏托邦、解烏托邦、個人崇拜神話、狂歡化、戲擬