石黑一雄的成名突顯出兩點英國文學重要的轉變：首先英國的作家因為舊有帝國的衰敗而使得他們對自己喪失了自信心，其次大多數得獎的小說作者都有多重文化的背景。他們特有的寫作風格在他們的作品中顯現出文化的衝擊。本論文會討論石黑一雄如何利用對自己有利的機會來成名，以及在他成名之後，如何利用敘事者的己見來陳述故事。他用回憶的方式讓敘事者做選擇性的陳述，而這其中與事實真相的差距就可以巴赫汀的論點來加以詮釋。巴赫汀所關切的中心理念即是"他者"。藉由它在語言中的相對性，我們不僅可以看出語言中的深層含意，也可顯現出社會問題中的缺乏溝通。在The Remains of the Dar一書中，時間和空間的安排是頗為特別的。巴赫汀所提出的chronotope觀點雖然是將科學的看法用在文學上，但是他的重點是更強調人性中的不定性。在此章中史帝文斯先生的人格會作充分的討論；大家所認定的史帝文斯先生和肯頓小姐之間的愛情也會有全然不同的詮釋。在The Unconsoled一書中怪誕不羈的故事，除了以夢來解釋這一切非理性的陳述，巴赫汀所提出的Carnivalization觀點更適合來詮釋這本小說。萊德先生在這本書中所遇見各式各樣的人實際上是他自己本身的多重面貌。雖然石黑一雄在他的寫作上仍有缺失，但讀者仍可在這位自我要求甚高的小說家的作品中看到他的成長。 / Kazuo Ishiguro's popularity manifests two important changes in English literature: First, British writers felt they lost their confidence because of the decline of this old empire. Second, most winners of the Booker-McConnell Prize have more than one cultural background. Their specific characteristics of writing are to introduce another cultural impact into their works. This thesis starts with the moment of how it was the advantageous time for Kazuo Ishiguro to become famous. After he became well-known, Ishiguro became more interested in discovering how the point of view of a narrator can manipulate the story-telling. The technique he likes to use is memory, which provides narrators lots of choices to tell the story. The gaps between things narrated and not narrated are appropriate to take Bakhtin's theory to interpret these phenomena. The central issue that Bakhtin concerns is otherness. From his linguisticv relativity, this dialogic idea can discuss not only underlying meanings of language, but also social problems of disconnection. In The Remains of the Day, the most interesting point is its time-space arrangement. Bakhtin's chronotope not only brings this scientific idea into literature but also put emphasis on its humanistic side. Here Mr. Stevens's characteristics are fully discussed. The love between Mr. Stevens and Miss Kenton here is given a completely different interpretation. In The Unconsoled, the most interesting point is its wired, fantastic story. Besides the generally recognized interpretation as a dream, Bakhtin's carnivalization is even more suitable for this long story. Lots of people Mr. Ryder meets are actually the multiple reflections of himself. Though Kazuo Ishiguro still has some defects in his writing, he is a self-demanding novelist that readers can see his improvement in each of his novels.

本篇論文旨在探討譚恩美小說《接骨師的女兒》中女性自覺與 不可說的特性之間的相互關係。書中三位女主角都面臨各自的言語困難，然而，他們卻透過另類的語言方式，例如鬼魂的糾纏、阿茲海默氏症的副作用、沙盤上的書寫、甚且是保持沉默等管道，來為自己發聲。這些另類的發聲方式，說明了意義的展現是無法被永遠壓抑的，儘管是沉默無聲，也是語言的一種面向之呈現。書中女主角經由另類的語言方式，以及自傳式的書寫，三代不同時空中的兩段破碎母女關係，得以修補並縫合，並在發聲過程找到了屬於自己的女性自覺。 / This dissertation explores the relationship between the female self-consciousness and the characteristic of “unspeakability” in Amy Tan’s The Bonesetter’s Daughter. All of the three heroines in the novel have their own difficulty in speech acts: the grandmother is mute and later becomes a ghost; the mother is facing language gaps and is suffered from Alzheimer’s disease; the daughter has no direct access to Chinese language, so that makes her alienate from her mother. Suffered by their own linguistic problems, the three heroines thus develop their own alternative methods of articulation: the ghost haunts the living ones, and articulates through sand-tray writing with the help of her granddaughter; the by-effects of dementia allow the mother to speak the truth of the past; remaining silent makes the daughter hear her true intentions and reevaluate the difficulty that she is facing. Finally, the three heroines all dedicate themselves to autobiographical writings, for it is the only way to make the truth known and last. Through the help of alternative ways of articulation and autobiographical writings, the three women have opportunity to reexamine themselves and reshape their own self-consciousness.

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.

當代英國作家伊恩麥克尤恩的《贖罪》是部揉雜獨特告白形式的小說。小說直到最終章才清楚指出，這不僅是伊恩麥克尤恩描述主角白昂妮贖罪的小說，更是書中主角白昂妮身為一位作家的告白及贖罪手段。游移在虛假與真實的邊界，此書的核心問題在於，小說家的寫作能否彌補現實生活犯下的過錯？而身為讀者的我們，又該如何解讀小說與告白的轉變？ 本文分成四個章節。第一章介紹《贖罪》的相關評論及理論架構。第二章先闡述巴赫汀的對話和複調理論，再剖析小說中的前三部份如何具體呈現這兩種特質，突顯白昂妮藉由多重敘述觀點，瓦解幼年時自我中心傾向並開啟與他者的對話。第三章聚焦於小說架構的告白轉折。長久以來，告白被視為一種賦予解放和完整自我的力量，傅柯則提出現代社會下的告白演變為自我規訓的機制。以傅柯的觀點來解讀小說結尾，白昂妮的告白在自我解放與治癒的表層下，其實隱含了快感和權力的螺旋結構，對真實及作者身份的延宕意味著她身為小說家權力的回歸。 / Ian McEwan's Atonement is a novel experimentally weaved with a peculiar confessional form. Not until the last part of the novel are readers informed the framed narrative structure: this is not merely McEwan's novel which depicts the heroine Briony's atonement, but more importantly, the grown-up novelist Briony's own confession crafted as a novel to make amends. This complicates our reading in retrospect as the ending reveals the central dilemma: how to judge the novelist's privilege to use confession to atone for the fault made in real life. This thesis consists of four chapters. The first chapter introduces the criticisms of Atonement, followed by my theoretical frameworks adopted to read this novel. The second chapter begins with the explications of Bakhtin's theory of dialogism and polyphony. By integrating these two concepts to scrutinize the first three parts of the novel, I attempt to analyze how Briony's self-reflexive writing and utilizations of multiple points of view expose her childhood monologic mentality and demonstrate her broadening of the self-other understandings. The third chapter discusses the ambivalent confessional twist in relation to the previous story Briony has mesmerized readers to believe. While the confession has been historically considered as a means of self-liberation, Foucault brings out another aspect that the institutionalization of the confession has turned itself into a mechanism of self-discipline. The novel eventually strikes the final note on the double impetus of Briony's narrative that her confession offers a consolation to suture with the past but meanwhile, upon close inspection, the overtones of her restoration of power as a novelist and the spirals of pleasure and power still lurk behind.

在《坎特伯里故事集》中，喬叟曾多次直接指出或間接暗示旅程中的故事競賽為一遊戲。然而，對此文本的研究文獻，卻鮮少從遊戲觀點切入分析。即便有，也多是從語言角度，來處理文本中各角色間的口語遊戲，或喬叟本人的文字遊戲，離真正的遊戲本身，似還有一段距離。有鑑於此，我試著以惠欽格及凱洛斯對遊戲的論述，做為理論框架，來分析《坎特伯里故事集》中的遊戲元素。我首先將找出證據，來證明整個朝聖之旅符合遊戲的定義，然後以其中三個故事為例，來分析四種遊戲範疇。本論文將分為五章，在第一章，我先說明遊戲長期以來被人忽視的地位，接著我將引入惠辛格及凱洛斯的論述。惠辛格提出遊戲的概念、定義，及功能；凱洛斯作為惠辛格在遊戲論述領域中的繼承人，則將惠辛格的成就，加以推展及補充，並將遊戲定義為四個範疇：競爭、機會、模仿、暈眩。所有的遊戲都可被歸納為這四類。在第一章的後半部，我將逐一從文本中，找出證據，來證明《坎特伯里故事集》在在都符合遊戲的定義。在第二章，我將討論＜騎士的故事＞中競爭與機會之運作。在第三章中，我將從模仿的層面來分析＜赦罪修士的故事＞。在第四章中，我將從暈眩的角度來看＜修女院教士的故事＞。在第五章中，我將總結前四章的要點，然後探討文學作為遊戲的可能性。最末，從遊戲的往復特性來看，我將主張《坎特伯里》遊戲尚未結束，它是遊戲昇華為藝術的最佳範本。 / In many places of The Canterbury Tales, Geoffrey Chaucer points out that this story-telling contest would be a game. However, researches on this text have scarcely been done from the perspective of game. In view of this, I try to apply Jonah Huizinga and Roger Caillois’ concepts of game as the main theoretical framework to The Canterbury Tales. In this thesis, I justify the pilgrimage as a big game first and then discuss the elements of play in three tales respectively. The thesis is divided into five chapters. In chapter one, I recount the subordinate position of game first and then introduce Huizinga and Caillois’ discourses. Huizinga comes up with the concept, definition, and function of game; Caillois modifies Huizinga’s notions and then categorizes games into four kinds: agon, alea, mimicry, and ilinx. In the following part of chapter one, I prove that The Canterbury Tales as a whole matches the notion of a game. In chapter two, I discuss the exercises of agon and alea in The Knight’s Tale. In chapter three, I analyze The Pardoner’s Tale from the aspect of mimicry. In chapter four, I see The Nun’s Priest’s Tale from the perspective of ilinx. In chapter five, I summarize the previous chapters first, and then explore the possibility of literature as the game. I argue that the game of The Canterbury Tales is not over and that it is the sublimation form of game into art.

本研究旨在從俄國學者Mikhail Bakhtin（1895-1975）狂歡節語言與身體論述的觀點探討「抵抗如何可能？」的問題，並且以台灣當代女性主義小說家李昂於1999年出版的《自傳の小說》為主要的案例，重新思索和說明語言／意義的民主化（democratization）意涵與可能性。 有別於過去論述分析雖然言明語言／意義與政治社會之間並非單向的因果關係，而是相互影響、建構的辯證關係，但在實際進行案例分析時，卻較少著墨於語言如何「由下而上地」對象徵秩序進行意義的顛覆，本研究以Bakhtin對狂歡節語言與身體論述的說明，依序對抵抗的意涵、抵抗的可能性以及抵抗如何在文本中呈現，提出理論性的再詮釋。本研究發現，Bakhtin對於抵抗的想像，乃是一種在傳播／溝通與對話中，藉由特定語言形式而動員的意識形態鬥爭。積極而言，抵抗旨在透過言說主體的表述建構自己的意義系統；消極而言，抵抗至少具有解構他人意義系統的政治意圖。 然而，由於Bakhtin在狂歡節研究中，並未確實回應他企圖探討的「抵抗如何可能？」的問題。因此，本研究融入Laclau與Mouffe的「接合實踐」、Butler的「論述行動」與「身體展演」，從「形式層面」推敲Bakhtin在「眾聲喧嘩」對話模式中所暗示的政治機會，並對「抵抗如何可能？」提出具體的政治方案，包括：眾聲喧嘩的文本空間、對話與敵對關係中的再意義化、諧擬的身體展演、策略性的本質主義。本研究並且藉由對李昂情慾書寫中的抵抗策略進行「書寫形式的意識形態分析」，具體說明「抵抗如何可能？」的理論／概念架構。 本研究發現，李昂的情慾書寫呈現出「歷史書寫的性別化」與「性別論述的狂歡化」這兩個主要的特性。藉此，李昂一方面揭露了父權意識形態的意義生產邏輯，另一方面也藉由批判父權意識形態建構另類的意義系統或敵對／反對論述。從這點回過頭來再詮釋「抵抗如何可能？」的問題，本研究認為抵抗的可能性可說是在眾聲喧嘩或「弱敘事性」的文本空間中，藉由「接合實踐」動員由下而上的「論述行動」，並以「策略性的本質主義」此一政治方案建構霸權化論述的意識形態鬥爭過程；而「身體論述」所誇大展演出的敵對關係，則是最具渲染力也最為具體的例說。

人類書寫歷史，可視為文本不斷細小分割重組的過程，這種斷裂與重組的現象，及至超文本應用後臻至高峰。「超文本」並非單純將書寫媒介由紙張移植至螢幕，而是利用電腦「斷裂」、「交錯連結」、「非線」、「多向」等特質，營造與印刷技術截然不同的文本。它提供文本無比的可塑性，更具體實現了解構理論對「文本」的各種假設。 小說家波赫士曾於1962年假想一種混沌、斷裂、多向、非線性的小說型式;而德勒斯亦於1987年提出「遊牧」理論與「無中心」、「無階層」、「隨機組合」等概念。然而要在印刷小說中建構這種「歧路花園」，無非是緣木求魚，充份切割的傳統文本，充其量只是一堆碎紙片而已。墨梭則成功地以超連結整合碎裂辭片，具體在《勝利花園》中塑造了真正的「歧路」。在其獨特斷裂結構中，不但每個角色都擁有對等獨立的發聲空間，讀者更不再只是聽眾，而可以參與對話，平等發聲。 本論文分為四章，第一章專論超文本定義與演進；第二、三章試從「介面」與「情節」兩方面切入，分析墨梭超文本小說《勝利花園》如何實現德勒斯遊牧敘述與巴赫汀複調理論。最後則就當前超文本研究發展，提出未來展望。 / The history of human writing is a continual process of decomposition and re-permutation, and the process reached its climax after the application of hypertextual technology in the late twentieth century. Hypertext is not the simple transplantation of text from page to screen but an innovative technology which is fragmentary, interconnected, nonlinear and multidirectional. It provides an environment of incomparable textual malleability and further fulfills many deconstructive hypotheses about text. In 1962, Jorge Luis Borges suggested a fragmentary, chaotic, nonlinear and multidirectional narrative for the novel. In 1987, Gilles Deleuze presented the theory of nomadism and suggested the a-centered, non-hierarchic and randomly permuted structure. It was impossible, however, to create such a “Garden of Forking Paths” in the printed novel. The thoroughly decomposed text is nothing more than a heap of contradictory segments of paper. It is Stuart Moulthrop who successfully consolidated the fragmentary lexias with the hypertextual links and created a genuine “garden of forking paths” in Victory Garden. The fragmentary structure of Victory Garden helps the characters in the novel articulate themselves equally and independently, and the reader, the formerly auditor of the dialogue, can participate in the hyperfiction, too. This thesis is divided into four chapters. The first chapter introduces the rationale and the history of hypertext. The second and third concentrate upon the interface and the “plots” of Victory Garden respectively to see how it better fulfills Deleuze’s nomadism and Bakhtin’s theory of polyphony. In the final chapter, the future of hypertextual studies are discussed.

本論文研究渥雷‧索因卡《死亡與國王的侍衛長》一劇，以及本劇對約魯巴（Yoruba）人孤注一擲抵制西化卻徒勞無功的境遇所做的關注。本劇改編真實歷史，重演一九四五年在奈及利亞奧約（Oyo）城發生的動亂。當時應舉行侍衛長（Horseman）自殺儀式，然而英國殖民者以武力中斷。本劇一方面解釋這個儀式在約魯巴社會的重要性，另一方面揭露侍衛長心不甘情不願了結生命，並斷言活人獻祭這類殘忍的傳統必然要革除，特別是在因英國殖民而致的動盪時刻。 / 論文分為四個章節，依據米哈依爾‧巴赫汀（Mikhail Bakhtin）的時空型（chronotope）理論，探究《死亡與國王的侍衛長》其社會歷史背景與戲劇表演手法。第一章介紹作者和劇本，並回顧評論，以及說明接下來討論的議題和理論架構。第二章分析文本與現實世界相互輝映的關係。艾瑞克‧霍布斯邦（Eric Hobsbawm）在〈發明傳統〉（"Inventing Traditions"）的見解用以闡明傳統是因時制宜的產物。比爾‧阿希克洛夫特（Bill Ashcroft）等三人提出的後殖民典型，有助於瞭解約魯巴人為了阻擋外來影響竭力奮戰，儘管殖民政府的干預相當強勢。第三章詮釋劇中人物的性格特徵，以弗朗茲‧法農（Frantz Fanon）告誡不可畫地自限的觀點為鑑。無法順應社會變異因此冥頑不靈的人，失去了看世界的洞察力。而那些猶豫不決者，為了遵從老一套的價值觀，受煎熬得筋疲力盡。第四章總結本文，認為本劇主張靈活性和果斷力以進行改變。 / This thesis studies Wole Soyinka's Death and the King's Horseman and its concerns for the Yoruba people's desperate but futile resistance to Westernization. Adapted from a real historical event, this play reenacts the disturbance in the Oyo city of Nigeria in 1945, when the ritual of the Horseman's suicide was interrupted by the British colonial force. While the play explains the importance of the ritual in the Yoruba society, it reveals the Horseman's reluctance to end his life and asserts that cruel tradition like human immolation must be reformed especially at the fluctuating moment caused by the British colonization. / Consisting of four chapters, this thesis relies on Mikhail Bakhtin's chronotope to explore the socio-historical context and theatrical representation of Death and the King's Horseman. Chapter one introduces the dramatist and the play, reviews critical opinions, and illustrates the purpose and theoretical framework of the following discussion. Chapter Two, which analyzes the interrelationship between textual and actual worlds, adopts Eric Hobsbawm's "Inventing Traditions" to clarify tradition as produced according to specific circumstances. The postcolonial models proposed by Ashcroft et al helps understand the Yoruba people's struggle for no foreign impact despite powerful intervention by the colonial government. Chapter Three interprets the roles' characterization with the aid of Frantz Fanon's warning of self-confinement. Unable to adjust to social variances, the obstinate people blind their vision of the world, while those procrastinating become dead exhausted by difficult conformity to old values. Chapter Four concludes that this play argues for resilience and resolution to make difference.

本論文期望藉由探究《陽光下的葡萄乾》一劇，對非裔美人在面對社會困境以及白人意識型態時，如何發展自我認同的議題啟發新的思考。蘿琳．漢司白瑞以寫實的寫作手法，呈現非裔美人在美國一九五○年代種族隔離區的生活。種族隔離政策(segregation laws)中，空間具有特別的指涉意義，因此本文選擇米哈依爾．巴赫汀(Mikhail Bakhtin)的「時空型」(chronotope)理論作為本論文的基本架構。由於劇本和其當代歷史相互輝映，歷史背景的研究可以幫助理解劇中人物動機；反之，由解析劇中情節和人物行為，亦可推測非裔美人的未來發展。 本論文分為四個章節。第一章提供作者生平、劇本、評論、以及理論架構的基本介紹。第二章有兩個主題：呈現作品如何反映歷史，以及從社會背景的角度詮釋角色。其中，弗朗茲．法農(Frantz Fanon)的《黑皮膚，白面具》幫助解釋部分角色的同化行為。第三章顯示非裔美人如何在白人霸權之下建立自我認同：在社會上表達訴求以對抗白人霸權，在文化上接納非洲本能和美洲文化，及在家庭方面堅守傳承下來的家庭尊嚴。史都華．霍爾( Stuart Hall)的離散理論(diaspora)特別用來處理其中同時具有非洲和美洲本質的文化議題。第四章則是本論文的結論，總結作者寫本劇的信念和目的。 / This thesis studies A Raisin in the Sun and expects to bring new inspirations of how African Americans develop their own identities confronting social plights and white ideology. With the realistic writing style, Lorraine Hansberry truthfully depicts and reflects African Americans’ life in the segregated ghetto in the 1950s. As space carries significant meanings in the enforced segregation laws, Mikhail Bakhtin’s chronotope serves as the main theoretical framework of this thesis. The play is interconnected with its contemporary history, so we may interpret the characters by considering their historical background and infer the American blacks’ future path by scrutinizing the plot and actions in the play. This thesis consists of four chapters. Chapter One is an introduction to the author’s life, the play, the critical opinions, and the theoretical framework. In Chapter Two, there are two main issues: first, how this play reflects the historical background, and second, interpretation of characters in relation to their specific social contexts. Frantz Fanon’s Black Skin, White Masks is applied to explain the potential of assimilation of some characters. Chapter Three reveals how African Americans under the white hegemony find their own identities in social, cultural, and family perspectives. The gist is that they must strive for the improvement of their social status, embrace both African and American cultural roots, and stick to their family pride. Stuart Hall’s theory on diaspora is useful to deal with the cultural identity which ambiguously covers both African and American essences. Chapter Four is the conclusion of the thesis that sums up the author’s belief and intention in writing the play.

本論文探討英國劇作家凱洛•邱琪兒之《九重天》以及《頂尖女孩》兩劇中深具顛覆性的時空手法。本論文由五章組成。第一章回顧多年來相關的眾多評論角度。第二章援引巴赫汀(Mikhail Bakhtin)的時空型(chronotope)概念探討兩戲中時空融匯的現象，尤其是劇中人物心理、身體狀態，戲劇時空，以及外在社會文化時空背景，三者之間緊密的互動。兩齣戲各別有著兩個不同的時空型：《九重天》第一幕代表的是性別角色僵化的時空型，第二幕則代表了1979年當時社會上傳統性別角色開放且迅速轉變的狀態；《頂尖女孩》則透過一對姐妹Marlene與Joyce對映出當時兩種不同的女性生活，一個是典型八零年代柴契爾主義的事業女強人，一個則是在此種政經趨勢下卻相對更加弱勢的傳統女性。 第三章則探討兩劇第一幕呈現長久以來隱藏空間當中的性別歧視。透過女性地理學者(feminist geographical theorist)之觀點，筆者分析兩戲當中兩性間不同的空間體驗(spatial experience)，以及公/私領域之分界(private-public distinction)所暗藏性別歧視的空間隱喻(spatial metaphor)。當男性與冒險及旅行等等充滿能動性(mobility)的字眼連結，女性卻總是被動地與家庭空間緊緊連繫。邱琪兒在此揭露空間亦為不公平的性別政治當中之一環。 第四章則著重於分析《九重天》第二幕當中的公園場景，以及《頂尖女孩》第二、三幕的辦公室與廚房場景。首先援引傅柯(Michel Foucault)的異質空間(heterotopia)概念來討論各場景間複雜的鏡像與補償關係。透過空間理論學者昂希．列菲弗爾(Henri Lefebvre)以及抵抗地景(geographies of resistance)的空間生產理論分析邱琪兒如何透過呈現特定社會族群佔領特定空間的手法，企圖激進地改變現實當中此類空間的社會意義。 雖然距兩齣劇作首演的年代已有二十多年，但其中所探討之議題依然常見於現今二十一世紀的社會當中。邱琪兒預見了現今複雜的家庭狀態以及大鳴大放的同性戀運動。即使越來越多女性在政治界或是企業界嶄露頭角，世界上多數的女性依然掙扎於找尋工作與家庭之間的平衡點。 / This thesis is to examine Caryl Churchill’s subversive temporal and spatial devices on stage in Cloud Nine and Top Girls. The chronotopes of the two plays articulate how people’s states of beings interact with the external social and cultural conditions, especially during the 1980s in London. Both plays crystallize the space politics full of gender discriminations in the patriarchal society. In addition, Churchill’s dramatic devices are the subversive spatial practice that transforms the gendered spaces into the sites of resistance in order to manifest her protest and seeks more possibilities for the gender roles in the future. There are five chapters in this thesis. Chapter One is an introduction, including the overview of two plays and the review of numerous analyses in the past two and half decades. In Chapter Two, Churchill’s theatrical temporal and spatial devices, including setting, synchronism, and anachronism in Cloud Nine and Top Girls construct chronotopes that lay bare the special social and cultural condition in a certain historical moment. Those chronotopes demonstrate how Churchill unifies people’s internal states of being and the external political structures together. Moreover, by presenting the chronotopes, Churchill criticizes the slowness of the progress in gender politics and the possible backlash about women’s right in the 1980s. In Chapter Three, I analyze how the spatiality of patriarchy constructed by the private-public dichotomy in both Act Ones of Cloud Nine and Top Girls. The spatial experiences between men and women depicted in Act One of Cloud Nine illustrate the stereotypical masculinity and femininity in the Victorian age. The spatial metaphors about movement in Act One of Top Girls expose the strict boundary between the private and the public spaces, and foreshadow the importance of mobility as being a possible strategy to transgress the boundaries. Finally, Chapter Four is the analysis about how Churchill subversively and politically explores the possibility of creating new social spaces in the park space of Cloud Nine and the office space of Top Girls. Her theatrical strategies are potential spatial practices that create the rupture to transgress the unfair restrictions and discriminations in the patriarchal and heterosexual society. The final chapter concludes that Churchill’s dramatic devices about time and space are the subversive strategies to conduct her observations and criticisms about the unfairness in society.