納博可夫的《羅麗泰》游走於各文類之間，看似相反的詮釋卻得以並存，進而營造出一種不確定性美學。本論文旨在探討納博可夫的書寫策略以及文本中的各種不確定性。 第一章為概論，援引德希達的理論說明「不確定性」。第二章簡介後設小說的歷史與定義，檢視文本中後設與寫實元素的並存，並藉羅蘭巴特的理論說明可寫性的文本。此外，也以文中例證分析寫實元素以及《羅麗泰》既是童話故事也是諧擬童話故事。第三章進一步說明小說中種種二元對立並存的現象：道德性/不道德性；精神分析式閱讀/嘲諷精神分析；以及故事起源的不確定性。文中的反身性，作者現身以及雙重性俱使道德與不道德間的分野更模糊難辨。羅蘭巴特的文本歡愉恰與納博可夫視藝術為美學至喜的觀點吻合，而《羅麗泰》小說中的美學至喜也形成一種超越世俗定義的超道德。第四章分析《羅麗泰》跨越不同文類的特殊風格，而瀰漫書中的「不確定性美學」使其同時是(一)懺悔錄/諧擬懺悔錄；(二)偵探小說/諧擬偵探小說；(三)喜劇/悲劇；(四)羅曼史/諧擬羅曼史。第五章則是結論：《羅麗泰》小說中的不確定性美學開啟了嶄新的閱讀體驗，讀者得以游走於不同詮釋間，並在閱讀中創造文本的意義。 / Nabokov's Lolita is a text that oscillates around the border between genres. In a close reading of Lolita, readers frequently find a condition of undecidability. This thesis investigates Nabokov’s textual strategy of playing in the boundaries between many genres, and by extension between a series of binary oppositions; and also how the narrative style repeatedly produces moments where the reader could decide to interpret either one way or another way, leading readers continually into a kind of either/or, both/and, neither/nor interpretive dilemma—what I will call an aesthetics of undecidability. Chapter One is an overall introduction to the study, and I refer to Jacques Derrida’s idea of undecidability. In Chapter Two, I explore the binary opposition between metafiction/straightforward storytelling in Lolita. In addition to the history and naming of metafiction, I also analyze Catherine Belsey’s interrogative text and Roland Barthes’ readable (lisible)/writable (scriptible) text. As for the realistic elements of the novel, I dissect textual evidence in Lolita and the undecidability between fairy tale/parody of fairy tale. The coexistence of metafictional and realistic elements is also a part of the undecidability in the text. Chapter Three is about three distinct yet interrelated textual aspects of undecidability: morality versus immorality in Lolita, the undecidability between psychoanalytic reading versus parody of psychoanalysis, and the undecidability of the text’s originality versus its borrowing from a previous short story titled “Lolita” by Heinz von Lichberg. These three critical issues are further complicated by the reflexivity, authorial presence, and the doubleness in Lolita that make it even more difficult to see the text simply as moral or immoral. Taken together, the resulting complexity and sophistication of the aesthetic style enables an active reading experience or what Barthes’ called the “text of bliss”—which coincidently corresponds to Nabokov’s definition of true art as “aesthetic bliss,” and the bliss in Lolita makes it a text that contains a kind of morality. Chapter Four examines additional cases of undecidability between confession/parody of confession, detective story/parody of detective story, comic elements/tragic elements, and romance/parody of romance. Again these are distinct yet interrelated issues of ambiguity, but my purpose is to show that a style of undecidability pervades the novel in many ways. And Chapter Five is the conclusion of this thesis: the aesthetics of undecidability makes Lolita a text that resists a one-sided reading. I hope that my thesis might explain why different readers of Lolita have opposite readings.

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.

本論文主要是在探討薩曼、魯西迪在東，西小說中如何運用以第三空間為策略在二元對立的世界中找到出口。由於魯西迪漂泊離散的身分，他選擇將自己置於曖昧矛盾的第三空間中以避免被挾制於特定論述或意識形態中。因此魯西迪藉由能夠模糊政治、語言、以及文學方面界線的第三空間為策略，來顯示他如何以曖昧矛盾的處世態度在二元對立的世界中取得自身的主導權。 本論文將會分為三個部分(包括漂泊離散空間、語言第三空間、文學第三空間)來探討魯西迪如何在此小說中使用三種不同的第三空間，以達到抵抗文化身分、標準英語、以及文學經典等霸權。首先，論文第二章最主要在介紹漂泊離散的空間；在此空間中，漂泊離散者能夠依舊保有他們曖昧矛盾的獨立身分並免於被收編或同化於特定的身分中，並且藉此擁有能夠重新定義自己身份的權利與自由。第二，在第三章中魯西迪利用語言中第三空間的觀點來質疑傳統文化翻譯以及標準英語的純正性，為長久以來被曲解、壓抑的東方文化取得發聲的機會；讀者也可藉由文本中語言的挪用來了解認識異文化。最後，於第四章中，我將藉由巴赫汀所闡述存於小說中的新空間和後設小說的戲謔諧擬來分析魯西迪如何創造一個文學第三空間，揭櫫寫作人為的本質；並將社會時事與文學批判結合於小說文類中。總結來說，此三種不同的第三空間不僅反應出魯西迪拒絕選擇而將自身置於矛盾曖昧中的空間中，同時也為二元對立的世界中注入新動力。 / The aim of the thesis is to scrutinize how Salman Rushdie finds an outlet in the dichotomous world by means of the third space in East, West. Due to his diasporic identity, Rushdie decides to stay in an ambivalent space, avoiding being confined in specific ideology or discourse. As a result, using the strategy of the third space, which blurs political, linguistic, and literary boundaries, Rushdie shows how he earns agency in the dichotomous world. This thesis deals with three kinds of third space: diaspora space, linguistic space, and literary space. Each chapter unfolds how Rushdie uses the strategy of the third space to resist hegemonic discourse on human identity, the Standard English, and literary canons. Chapter II begins with an introduction of the diaspora space, by which diasporans are able to maintain their unique identities without being co-opted into a specific subject position. In Chapter III, both traditional cultural translation and the Standard English are questioned in terms of the linguistic third space. By means of the linguistic space, Rushdie challenges the monolithic cultural representation and pureness of the Standard English. The space also helps the distorted and misrecognized eastern culture articulate by appropriation of English. In Chapter IV, I will take metafictional parody and Bakhtin’s new zone of the novel to analyze how Rushdie creates a literary third space to lay bare the fabricated nature of writing and at the same time to combine social and literary critiques within the novel. To sum up, the three types of the third space in East, West not only reflect Rushdie’s refusal to taking sides but also bring dynamics to the dichotomous world.