一直以來，理論與經驗被認為是學術中兩種重要的研究方向，時至今日，在各個學術領域中仍不時有著理論／經驗二分並且對立的情況。在社會學界，這樣的現象也同樣地存在著。本文意在指出，任何理論作品本身皆帶有實作的面向，從來沒有非實作的理論；反過來說，亦沒有非理論的實作。語言體現一種群體的身體習慣，閱讀是對它的理解、而書寫是對它的介入。假解構之道重新進入暴力問題將有助於我們更為現實地面對近乎無所不在的語言之暴力。本文透過Derrida對現象學／存有論和馬克思主義文本的詳細閱讀和，旨在論證暴力幽靈不失為解構式延異經濟的最佳範例。名為幽靈的暴力意味著人們無法一勞永逸地袪除的東西，總是纏擾著資本主義的精神。本文將指出，作為基進化的馬克思主義，以暴力問題闡明的解構政治哲學能使我們免於陷入古典社會學和馬克思主義的天真政治和自發哲學的困境，包括天真地相信暴力將隨著文明化和理性化的進步而終結，以及自發地繼承西方神學和形上學的傳統。 / For a long time, the theoretical and the empirical have been regarded as distinctive approaches to academic research, and yet conflicts between these two lines of study persist until today. . The same case applies to the discipline of sociology. This thesis intends to point out that every theoretical work carries in itself a practical dimension, at which there is neither a non-practical theory nor a non-theoretical practice. A language is the actualization of bodily habits of a group. We read to understand and write to intervene this linguistic group. Thus it is only by way of deconstruction could we confront the almost ubiquitous violence of language in a more realistic manner. Following Derrida’s deconstructive reading of phenomenology/ontology and Marxism, the thesis seeks to make spectral violence an exemplary case to support the economy of différance. The specter named violence signifies something that could never be exorcised once and for all, always haunting the capitalist spirit. It will be argued that as a radical form of Marxism, deconstructive political philosophy explicated by the question of violence can keep us from lapsing into the naïve politics and spontaneous philosophy of classical sociology and Marxism, insofar as they naively believe in the end of violence via the progress of civilization and rationalization, and spontaneously succeed to Western theological and metaphysical traditions.

本研究旨在重構胡塞爾的意義發生理論與德希達對其的詮釋與批評。首先，透過對胡塞爾文本的考察，架構出其意義理論的三個層次──意義、表達與指號，指出晚期胡塞爾的意義理論不但承繼了此三個層次，更更進一步於歷史性的角度下，一方面探討意義流傳問題所彰顯出的語言與書寫之重要性，另一方面則討論意義發生的起源中，作為形式來源的內時間意識作用與作為質料內容的前述謂經驗。其次，重構德希達對於胡塞爾的詮釋與批評，其詮釋在於利用上述意義理論的三個層次作為進路，闡明現象學如何在此現前域的核心中保有一純粹內在的意義核心；其批評則藉由想像詞語、語言的歧義性與內時間意識的自觸發作用等概念而展開，一方面指出意義結構中各環節之不可分性，另一方面則批評非現前者早已經於現前的核心中運作。除了重構胡塞爾與德希達的理論內容之外，我們將試圖一方面從胡塞爾的角度評估德希達之解讀的有效性，另一方面，從德希達的角度出發，藉著探究其概念操作，試圖指出其批評得以開展的關鍵之處，以及此一批評所引入的新的符號概念。 / This thesis is to reconstruct the theory of genesis of sense in the thinking of Edmund Husserl (1859-1938) and the interpretation and criticism of this theory by Jacques Derrida (1930-2004). Firstly, through the study of Husserl’s texts, we construct the three-level structure of its meaning theory: sense-expression-indication. We claim that the theory of sense in Husserl’s late thinking also inherits the same structure, but his late thinking in advanced discussed, on one hand, the sense-transmission problem, which demonstrate the importance of language and writing, under the scope of historicity; on the other hand, Husserl investigated the origin of the genesis of sense, including the internal time consciousness as the source of form and the pre-predicative experience as the content of matter. Secondly, we reconstruct Derrida’s interpretation and criticism of Husserl’s thinking. By interpreting Husserl’s theoretical moments such as monologue and the core of pre-expressive sense, Derrida reveals how phenomenology has secured a pure internal core of sense in the field of presence. His criticism is unfolded through the concepts of imaginary words, equivocality of language and the auto-affection of the internal time consciousness, claiming on one hand, the indivisibility of the moments in the structure of sense and that the non-present has already worked in the core of presence. Besides the reconstruction of the theory of Husserl and Derrida, we also intend to evaluate the validity of Derrida’s criticism and explore his operation of concepts in order to explicate the critical point which permits his criticism in which a new concept of sign is introduced.

本研究論述流行文化研究面向，提出解讀到解構的權力觀視，並以台灣漫畫文化的權力解析，彰顯流行文化的解構閱讀，以解構流行文化的權力軌跡。 　　由於流行文化是權力開展與抗爭、現代社會再生產和變遷之重要所在，而這一切都在表意實踐過程中完成，因此，流行文化研究要從權力的面向，檢視流行文化的多樣表意實踐和過程，以及構築此表意實踐的權力鬥爭關係。 　　不過，要如何檢視流行文化場域的權力鬥爭關係？由於權力總是處於多元交錯鬥爭的動態狀態，使得權力差異關係重疊加強、衝突削弱、鬥爭滲透，形成權力差異程度和樣態的不斷變動，而這種權力交錯鬥爭的動態狀態體現在表意實踐過程中，並經由表意實踐過程再生產且變異了權力差異關係。因此，檢視流行文化場域的權力關係，就是要由流行文化的表意實踐過程，讀出意義衝突互文的動態（差異）痕跡，也讀出權力差異關係交錯鬥爭的動態（差異）軌跡。 　　但是，解讀流行文化的權力軌跡可以彰顯權力的運作，並達到抗拒權力的目的嗎？由於意義無法固定，意義在權力總是交錯鬥爭的動態運作下，經由意義的鬥爭而流動變遷，這意義的歧異雖然造就了權力差異關係的再生產與變遷，但也再生產了權力的控制。所以，我們的表意活動總是被交錯鬥爭的權力所驅動，我們總是在權力的引導下從事意義的鬥爭與變遷，也總是在權力的動員下藉由意義的表徵來維繫、抗爭和變遷我們所在的權力關係位置，並再生產出權力。事實上，權力就是要建構一個流動的封閉世界，一個在權力操控中，意義和權力差異關係永恆動態（差異）發展，以再生產出權力的封閉世界。 　　因此，在這樣一種由權力所動員的意義和權力差異關係永恆動態發展中，解讀流行文化的權力軌跡，其再現流行文化的表意活動中，受權力操控的意義鬥爭流變痕跡，也再現與其互動連結的權力差異關係變動軌跡，但卻無法呈現背後操控的權力運作。 　　不過，權力夢想全面封閉意義的慾望卻也從來未曾達到過，在權力操控意義鬥爭以再生產出變動自己的過程中，總是出現權力無法控制的意義，這滑開權力之手的意異，它不寄望未來，也沒有抗爭慾望，它只是玩耍嬉樂的意異遊戲，然而，就是這樣的隨意散漫，就是這樣的遊戲體質，反而溢出意義與權力的互動連結，使權力之網產生裂痕，暴露出權力的運作，也侵蝕了權力的控制。 　　因此，流行文化是權力動員意義和權力差異關係互動變遷以再生產出權力的場域，更是庶民得以近用，從事意異遊戲，以暴露權力、侵蝕權力的場域。 　　所以，流行文化研究要讀出流行文化場域中意異遊戲的痕跡，並同時成為流行文化意義的意異遊戲，故而，流行文化研究需要解構的閱讀，以解構流行文化的權力軌跡，其以讀出流行文化場域的意異遊戲痕跡，成為流行文化意義的意異遊戲，如此，才不會陷入受權力動員並再生產出權力的永恆循環中，也才能滑開權力之手，暴露並阻礙流行文化場域的權力運作，彰顯並消解流行文化場域的權力運作痕跡。最後，本研究並以台灣漫畫文化權力軌跡的解析，彰顯流行文化解構閱讀的必需性。

《序曲》一直以來被視認為華茲華斯的自傳詩，描述華茲華斯如何憑藉自身心靈與自然的互動，發展獨立整合的自我。然而，《序曲》文本結構上的多重性與不完整性，卻與華茲華斯所提倡的自我形象相抵觸。本篇論文將依據德希達的翻譯理論，由三方面探討華茲華斯如何透過書寫《序曲》形塑自身詩人形象的身份認同。首先，寫作《序曲》是華茲華斯的譯者天職 (the task of the translator)。唯有完成書寫《序曲》此一必要卻又不可能的任務 (a necessary and impossible task)，華茲華斯才可確立自己作為詩人的身份認同。再者，華茲華斯的詩人身份仰賴華茲華斯之名的翻譯 (the translation of Wordsworth's proper name)。華茲華斯之名的可譯與不可譯 (the translatability and untranslatability of Wordsworth’s proper name)促使華茲華斯不斷地進行翻譯與改寫，因而造成了《序曲》文本結構上的多重性與不完整性。最後，《序曲》將以華茲華斯的「佚傳」(otobiography) 而非自傳的方式進行重新詮釋，說明華茲華斯企圖透過書寫《序曲》所建立的自我身份認同，必須藉由「他者的耳朵」(the ear of the other)來確立。 / The Prelude has long been regarded as William Wordsworth's autobiographical poem in which he celebrates an autonomous and consistent self nourished from the interaction between his mind and Nature. However, the textual plurality and a sense of incompleteness of The Prelude contradicts the unique and unitary self-identity proposed by Wordsworth in this poem. On the basis of Derrida's theory of translation, this thesis intends to investigate the establishment of Wordsworth's identity as a poet in The Prelude in three aspects. First, the writing and completion of The Prelude is Wordsworth's task of the translator, the necessary and impossible task in search of an identity as a poet. Second, the constitution of Wordsworth's identity as a poet depends on the translation of Wordsworth's proper name which calls for and against translation at the same time. The translatability and untranslatability of Wordsworth's proper name leads to the textual plurality and incompleteness of The Prelude as the result of Wordsworth's endless translation of his name. Last but not least, The Prelude is not so much Wordsworth's autobiographical poem as Wordsworth's otobiography which calls for the ear of the other to constitute his self-identity by hearing and signing with him. This thesis endeavors to prove that Wordsworth, in the position of an indebted translator committed to an insolvent debt and non-dischargeable duty by a translation contract with Nature and Coleridge, is obliged to translate his proper name in search of the sur-vival of his name as a poet and his poetry by writing The Prelude as his otobiography which is always open to and demands the ear of the other to recognize and affirm Wordsworth's name as a great poet.

本文試結合禮物致贈和待客之道，討論其在經典文學作品和人類學記錄中，隱含對文明發展及個人主體的省思。禮物實踐的弔詭和難題，自人類學家摩斯（Marcel Mauss）以來，到文學批評學者德希達（Jacques Derrida），屢在當代不同學科引發興趣。禮物的經濟效益似乎直接挑戰命題本身，搖擺於權宜交換的迷思和禮物的形上真諦。待客之道，則屬當代法國哲學家列維納斯（Emmanuel Levinas）的倫理思想中心。列維納斯認為待客之道隱喻無限可能的化身，能解套傳統主體為上的僵局，亦為主體對未知／上帝的責任。德希達將之援引，同視為（不）可能任務。在此脈絡下，本文試圖在不同文本／文明間對照，探究禮物和待客之道所指之善行本質，超越的欲望，及與他人／它者互動的界限辯證。所用方法主要為重新闡述西方文明重要來源之《聖經》，文藝復興時期莎士比亞四大悲劇中的《李爾王》，以及作為西方文明它者的泛伊斯蘭文學遺產《一千零一夜》。本文認為，以顯在(present/presence)為軸的人文精神，其先驗的暴力特質，一方面淋漓表現於禮物(gift/present)及待客之道；一方面正因這不可迴避的暴力和超越可能性(possibility)恆使文學作品以禮物和待客之道作為生命常軌之外的轉折點，彷彿是作家和學者對於智識外的不可計算(uncalculated economy)，以不可能(the impossibility, the absolute other)的踪跡(the trace)形式，留下對彼在(there is)／他者(the other)的悅納(welcome)。 / The themes of hospitality and gift-giving in literature oftentimes pass unnoticed by literary critics because the themes seem to be so naturally embedded in literature that perhaps an event of murder might interest the critics more. But hospitality and gift-giving are important because, as part of our living experience and with the possibility of going beyond the logic of exchange and altruism, hospitality and gift-giving subtly reveal to us the eternal concerns of astonishment, death, God, violence, and human relations. In this respect, hospitality and gift-giving radically challenge our conception of subjectivity. The following dissertation which consists of my collection of thoughts is therefore, metaphorically, a tangent touching, or better yet, approaching yet without appropriating the other in the postmodern philosophical context. My interpretation of “the absolute other” aims to make an argument that actions of hospitality and gift-giving, albeit without the acknowledgement of the subject, exhibit the desire of approaching “the absolute other” and simultaneously acknowledge the limit of subjectivity. In this attempt to lay open the interrelationships between hospitality and gift-giving by illustrating the “otherness” in subjectivity, responsibility, and God “the absolute other,” I draw from various sources in philosophy, sociology, anthropology, and Lacanian psychoanalysis. Through review of these multiple sources I contend that genuine hospitality and gift-giving can give rise to various levels of meanings to the absolute alterity of otherness. The selected literary texts under the discussion respectively are: the Bible, King Lear, and the Arabian Nights. The reasoning behind this choice is an intention to comprehend the otherness across cultural boundaries. I examine the Bible to contend for the Hebraic tradition and Pauline Christianity, King Lear the renaissance enlightenment, and the Arabian Nights the Western other.

本研究旨在通過對話與遊戲二個概念，一方面從事高達美與德希達二人思想之對比，另一方面探究教育中對話與遊戲之意義轉變與問題，企圖從二人思想的對比中汲取養分，嘗試解決教育中對話與遊戲概念的問題、與豐厚其意涵，並對教育學基本理論之建構提出啟示與建議。 首先，本研究分別針對高達美與德希達之思想與承繼加以說明，以理解二人思想主張之不同與所立足的共同根基；其次，分別分析教育中對話概念與遊戲概念其意義轉變與問題，並將二人思想中的對話概念與遊戲概念、加以釐清與對比，從中探論對教育中對話概念與遊戲概念的啟示；最後，從教育人類學、教育學知識論、教育倫理學等幾個面向，分別探論高達美與德希達二人思想中對話、遊戲概念之對比對教育學的啟示。 本研究經由歷史詮釋法、對比哲學法、理論分析法，以及歷史的---系統的分析法，獲致以下結論： 一、高達美與德希達二人都企圖在詮釋學活動中處理存有論的問題，但二者的主張卻存在著歧異。 二、高達美與德希達同樣沿繼了胡塞爾、海德格與尼采反叛現代科學技術宰制的路線，並加以深入發展，然而二人思想之差異處更有極大部分是源自於對這三位哲學家思想的不同詮釋。 三、高達美詮釋思想中的對話概念，具有現前、情境與互為主體等特殊性格，也具有做為語言的理想形式與本質、做為此在存有的開顯與真理朗現的托基，以及做為詮釋學的方法範本等意涵；更企圖以開放與善良的對話意願，來開展無止盡的對話，以邁向同一的征途。 四、德希達解構思想中的對話概念，則企圖透過批判對話中的語音中心主義、邏各斯中心主義及現前形上學來揭露對話的深層意涵，與從事對話概念之解構；並通過對善良意願的質疑，來批判對話運作中可能存在的內在宰制慾望；以不斷延異的痕跡作為對話的可能，來開展意義的無邊界播散與樁稼。 五、高達美與德希達對話概念之對比，可從：對話有無收編對方的宰制企圖、對話是否為邏各斯中心主義、對話溝通的脈絡情境是否可能、對話者是否存在於對話中及對話有無現前形上學遺跡等議題，來理解二者的異同。 六、通過教育中對話意義轉變與問題之探討，及高達美與德希達對話概念之對比，可歸結以下對教育中對話的啟示：教育中的對話應該強調對話本質的無止盡性、對話意義的多元性、對話主體讓渡或對話的主體化，以及保持對自身的不斷批判與反省。 七、高達美詮釋思想中的遊戲概念，其存在方式具有遊戲做為遊戲自身的主體、以自我表現的本質構成藝術的存在方式、呈現為既是被動式又具主動性的往返重複運動等特殊性格，也具有美學、存有學與詮釋學等意涵；更以做為一種創造物/結構，實現遊戲向藝術的徹底轉化。 八、德希達解構思想中的遊戲概念，其存在方式具有透過二元對立邏輯的鬆動與疆界的模糊造就結構的不確定性、透過本原的消無與基礎的空缺成就結構的去中心化、透過結構的寬弛與保持無止盡的未完成狀態成就結構的去僵化性等特殊性格，且為一種解構詮釋的展現與造就；而其終極意涵在於作為一種自由的嘗試與實踐。 九、高達美與德希達遊戲概念之對比，可從：遊戲中存有問題的二面觀點、遊戲主體的在或不在、遊戲規則的往返重複或不斷變異、真理揭現的渴望或痕跡化、意義的同一整體或多義延異、語言結構的對話化或寬弛化、自由的可得或不可得等議題，來理解二者的異同。 十、通過教育中遊戲意義轉變與問題之探討，及高達美與德希達遊戲概念之對比，可歸結以下對教育中遊戲的啟示：教育中的遊戲應是一無止盡的過程，在此中，自由之可能性被銘寫，主體得以在自身疆界之走出與返回間，甚或在徹底的抹除自身以化為痕跡的延異中，見證存有本身之遊戲性。所有的意義與規則，不假外求、而來自遊戲的參與之中，具有無限延異、播散且自律的本質。 十一、高達美與德希達之思想對於教育人類學的啟示，包括：存有本質的肯認、開放性對存有的必要性，以及無止盡性對存有的重要性；教育人類學的人類圖像，必須逐漸增加其不確定性與保持相當的開放性，在肯認人類具有創化獨特性的同時，也重視與萬物同舟共濟的能力；以及再確認人類擁有語言能力、擁有追求意義、擁有自由、以及擁有超越等本質。 十二、高達美與德希達之思想對於教育學知識論的啟示在於：教育學知識論必須同時著重到同一性與差異性、真理與多義。 十三、高達美與德希達之思想對於教育倫理學的啟示，即是：教育目的應該保持不斷的自我覺察與自我更新，保有一種無止盡性本質，並積極從一種獨斷絕對式的邏各斯，朝向共同鎔鑄的共識與意義整體努力，最終走向理想的自律形式，從妥協色彩的責任倫理轉向絕對自律的責任倫理。教育實踐中有關行為規範的設立，則必須注意所謂的自願性，權威與規範不應是由其地位外來地賦予合法性與正當性，而應該是由遵循規範者自身所肯認。 根據以上研究結果，最後本研究在教育理論與實踐方面提出若干建議：人類主體性的建構，應朝向更為謙遜的主體性重新安置；教育目的之設立應符合開放性、多元可能與無止盡過程的存有本質；教育學知識論的建構，應朝向真理與多義的辯證發展；教育應覺察他者與差異的脈絡性，去除教育中的二元對立宰制；教育實踐中行為規範之設立，應考慮其脈絡性並符合自願性的原則。

艾薩卡•丹尼森 (Isak Dinesen) 的回憶錄《遠離非洲》(Out of Africa) 記載了她在英屬非洲殖民地──肯亞停留長達 17 年的心路歷程。在居留肯亞期間，丹尼森經營農場，並嘗試融入當地生活。然而，最後由於大自然災難衝擊，導致農場經營失敗，迫使她離去這個她賴以印證、再造自我的異地天堂。失意之餘，她在 1942 年重返丹麥，將這 17 年的經歷在回憶錄中娓娓道來。 本論文以雅克 • 德希達 (Jacques Derrida)「悅納異己」(hospitality) 的理論探討丹尼森的「虛構自我」(fictional I)──凱倫 • 布莉克森 (Karen Blixen) 在異地與他者相處的細節。她以客人的姿態進入肯亞，卻以農場主人的身份停留 17 年。由於身份的尷尬與模糊，使她自始至終都必須在罪惡感與焦慮中掙扎。這樣的模糊身份也直接影響了她身為農場主人所展現的待客之道。她一方面希望給予當地人「無條件待客之道」(unconditional hospitality)，但另一方面又礙於殖民情境下的種種因素，迫使她不得不實行「有條件待客之道」(conditional hospitality)。布莉克森的模糊身份、處在異地的心境，以及與他者相處的細節都和這兩種待客之道的更迭交替息息相關。 布莉克森的農場是個「交會區」(contact zone)，充滿不同文化的衝突與交融，也隱約存在著殖民情境下的階級氛圍。在此交會區中，布莉克森與農場上的當地人皆努力將其轉化為「安全地帶」(safe house)，以農場的合諧為最終目標，企圖弭平因文化差異而造成的緊張與衝突。在對於流亡白人的接待上，布莉克森又試圖將其轉化為德希達式的「新城市」(New City)，開放接受流亡到肯亞的白人。雖然最後「安全地帶」與「新城市」的理想都因農場經營的失敗告終，布莉克森的努力仍具有其價值；而理解殖民情境下種種理想的不可能性，也成為她旅行後的成長。 / Isak Dinesen’s Out of Africa, written in the beginning of the 20th century, is one of the modernist travel narratives which manifest the white settlers’ experiences in a foreign land. Dinesen spent 17 years of her prime time in Kenya, searching for a life answer only to find its ungraspability in the end. She returned to Denmark in 1942—a defeated homecoming—and rearranged her exotic experiences in the structure of a tragedy, a five-act play, and “telling a play” in front of her readers (Trousdale 171). With Jacques Derrida’s theory of hospitality, this thesis aims to trace how Blixen’s days in Kenya is characterized by her struggles over her own ambiguous identities as both the guest of the country and the host of the farm. As her stay in Kenya and her running of the farm are under the control of the colonial law, she hopes to compensate it with the unconditional hospitality to the Natives. However, under the colonial context, the hospitality she practices is constantly rendered conditional due to the possible problems dwelling in this “contact zone” (Pratt 6). Instead of focusing only on her possible imperial attempts in Kenya, this thesis hopes to explore more aspects of her role by tracing her interactions with the Natives. Although her farm is rifled with diverse cultural conflicts, Blixen strives to turn the contact zone into a “safe house,” a social space where all the members try to ignore the hierarchical system rooted prior to their encounters. She also tries to change it into a Derridian New City to welcome the white wanderers, and practice the two imperatives of hospitality in harmony. This ideal New City is an embodied projection of Blixen’s life pursuit as a colonial Odysseus, yet her struggles prove to be futile in the end. Dinesen’s act of writing—rearranging the memories in an elegiac tone—records her illusion in the beginning and her disillusionment in the end of the travel. Narcissistic as her ideal may seem, her efforts of bridging the cultural gaps and integrating with the native land cannot be ignored.

保羅•奧斯特的〈紐約三部曲〉被歸類為「反偵探小說」（anti-detective novel）。在這三個故事裡，因緣際會背負了偵探角色的主角們，試圖還原事件的真相，卻個個受挫，甚至迷失在糾纏的線索與沈重的身份認同的遊戲中。他們像是一腳踏進了令人暈眩的泥沼，非但沒法用理智脫困，還愈陷愈深，隨著迷宮裡的音樂瘋狂起舞。 鈴鈴鈴不時搖著鈴鼓迷惑他們的聲響來自一串一串的文字：當他們想藉語言探求「真實」時，才發現無論語言或是理智都從來不是靜止與透明的。此外，與偵探行為息息相關的「命名」（naming）問題，也是〈紐約三部曲〉中的一個焦點。主角們的名字彷彿細軟的藤蔓般糾結在一塊，命名的議題以有趣的方式被呈現在這部小說中。本篇論文還要探討這部小說如何處理讀者與作者的辯證關係，因為讀者一走進這本小說便參與了作者精心設計的巨大遊戲。 本篇論文將研討〈紐約三部曲〉反映的三個問題：再現的問題、命名的侷限性，以及讀者與作者耐人尋味的關係。再現的問題會放到德希達(Jacques Derrida)提出的「延異」（differance）觀念下解釋—事物的意義不可能立即被揭露，而是永遠處在一種「延異」的狀況下。小說中主角們對唯一真實的追尋因而不可能被應許，而是遭遇一而再、再而三的延遲。另一方面，〈紐約三部曲〉對命名的功能性有所保留。本論文將疊合本小說中對命名的質疑與波赫士短篇小說裡對命名的不信任，說明奧斯特對命名的解構。〈紐約三部曲〉對命名抱持矛盾的態度：命名既幫助人們架構他們的世界，卻又滑溜溜的歪曲了人們的自我認識，讓他們被自身的自主性的假象蒙蔽。此外，讀者和作者究竟是不是維繫著一種同盟關係呢？本論文試圖闡釋存在〈紐約三部曲〉中，他們之間相互依存、卻又競逐對文意的解釋權的關係。只不過，躲在文字的簾幕後偷看著的黑影，始終是作者的吧？！ 〈紐約三部曲〉訴說的是一個追尋的故事。這個歷程沒有終結、沒有絕對的答案，只有故事拖長了腳步的身影。這個反偵探故事否定了許多關於理智的邏輯，但是它為書寫開闢了另一種可能：書寫與閱讀可以是無限延長的生命肌理。文字從不直接給予人們他們孜孜尋找的解答，他們只告訴你你將在文字中漂流的命運。 / Labelled as an anti-detective novel, The New York Trilogy defies the traditional detective process and instead renders the experience for man to distill and to locate meaning as an agonizing one. The protagonists in The Trilogy undertake the roles of the detective, hoping to reveal a sole truth behind the entangled situation. Yet they are not only frustrated in disclosing meaning, but thrown into extreme bafflement. Their identities fall apart, wriggling in the maze built by spiral words, crossed names and the ongoing efforts to define the relations. The protagonists find everything they used to hold as truth shudder. Language no longer stands for a limpid means to represent the real but rather shakes their beliefs. When they try to name and to draw their realm of autonomy over the flowing phenomena, they find naming a problematic strategy to define the world. Furthermore, as detective-readers who attempt to decode the text, the protagonists are desperate to comprehend their relations with the “writer” of their books, as the reader does in reading The Trilogy. This thesis attempts to probe into three prominent issues raised in The New York Trilogy: dubious representation, problematic naming strategy, and the peculiar bond between the reader and the writer. The doubtful representation in the novel will be examined under what Derrida suggests in “Differance”: Meaning can never be fully present, but remains in a state of differance. The protagonists in the three stories cannot disclose an overriding truth, but float in such a wave of doubts, uncertainties, and changing phenomena of the world. Also, the problematic strategy of naming will be compared with Borges’suspicion towards naming. Under both cases, naming serves as an extreme yet slippery means for man to draw his territory. In addition, the relation between the reader and the writer in the novel is investigated. The detecting process in the novel embodies the pursuit of the reader out of the text. Thus reading and writing are delineated as an everlasting journey. When the detective and the criminal as well as the reader and the writer seem to be in contest for the power of explanation, the pairing relation actually forms a close tie: The detective cannot live without the criminal; the reader and the writer need the eyesight of each other to survive. The New York Trilogy is not a journey providing answers but a whirl to disrupt the truth. Declining any definite inspiration, it nevertheless obliquely affirms the value of reading and writing. After exhausting complexities of the cases, only the reader remains. And what is heard even after one closes the pages is the voice of the reader encircling within the space. And the voice keeps telling and telling until the story belongs to him. We as readers will keep narrating the story with our little voice.

渥坦貝克的劇作《解剖新義》聚焦於法國殖民北非時期，伊莎貝拉(Isabelle Eberhardt)的旅行經驗。伊莎貝拉女扮男裝以歐洲冒險家身份旅行，設法爭取個人自由，致力於破除父權社會加諸於女性身上的性別刻板印象。本劇涵蓋了空間位移、遊牧旅行以及與他者相遇的概念。大多數的批評家對於此劇的討論，多著眼於角色如何跨越性別、地理疆界，而鮮少碰觸旅行議題本身。本論文試圖細讀《解剖新義》，進而探討其中的旅行議題，以及旅行伴隨而來的外來者問題。 本論文的第一章涵蓋《解剖新義》的相關評論，以及論文的主題。第二章說明旅行必要的條件，進而帶出本論文關切的旅行要素。第三章引用茱莉亞·克莉斯蒂娃 (Julia Kristeva)對外來者的見解，點出外來者的問題。本劇呈現旅行者與當地居民彼此間心理的矛盾衝突；同時，也提供不同例子說明個人如何能夠緩和自我與他者間的不合。第四章將以雅克·德希達(Jacques Derrida)的「待客之道」(hospitality)理論延續討論個人將如何面對與他者相遇的問題。第五章為本論文的總結，提供新 的解讀《解剖新義》方法。即便「待客之道」的概念在《解剖新義》中的某些場合被曲解誤用，卻也隱含「待客之道」在不同論述中，可能以不同概念呈現。 / Timberlake Wertenbaker’s New Anatomies (1981) is a play that centers on Isabelle Eberhardt’s traveling experience during French colonialism in North Africa. Isabelle, who endeavors to break the gender stereotype that is imposed on women in the patriarchal society, manages to strive for her own freedom by setting out for a journey as a European cross-dressed adventurer. The play deals with the ideas of displacement, nomadic traveling, and the encounter with the other. Critics’ responses to the play often focus on how the characters cross the gender and spatial boundaries; however, few of them seem to touch upon the issue on traveling itself. I intend to grapple with the issue on traveling by having a close reading on New Anatomies, and to deal with the accompanying foreigner question in a voyage. Chapter One of the thesis contains the literature reviews of New Anatomies, and carries out the concern of the thesis. Chapter Two presents the essential element in traveling and further maps out my concern about traveling. Chapter Three brings out the foreigner question by elucidating Julia Kristeva’s notion on strangers. The play reveals the psychological conflicts between a traveler and the locals; meanwhile, it also presents diverse examples on how one is able to reduce the estrangement between one and the other. To proceed with the discussion on how one shall react in response to the encounter with the other, I employ Jacques Derrida’s concept of hospitality in Chapter Four. Chapter Five is the conclusion of the thesis that points out how the thesis can be treated as a new way of study on New Anatomies. Though the meanings of hospitality are in some occasions being deformed in New Anatomies, they imply that there are different concepts of hospitality that is authorized in different discourses including traveling.

本篇論文企圖探討史蒂芬‧佛瑞爾斯 ( Stephen Frears ) 的電影《美麗壞東西》( Dirty Pretty Things ) 中的公民權與人權之議題。片中描述從奈及利亞非法入境的奧奎 (Okwe) 與來自土耳其申請政治庇護的桑娜 (Senay) 因其游移的身分，遭逢英國政府監控與資本主義社會剝削，並揭露倫敦城市中非法難民販賣器官以求生存的黑暗面。本篇論文著重分析政治庇護者的矛盾身分如何擾亂民族國家的監視、暴露僅以公民權利保障境內人民的缺失，並主張唯有透過跨種族、階級，與性別的聯合 ( solidarity ) 才能對抗國家機制裡的矛盾與全球資本主義的剝削。論文第二章以德希達 ( Jacques Derrida ) 的制約款待 ( conditional hospitality )，與傅柯 ( Michel Foucault ) 的監視 ( Panopticon ) 概念，探討片中監控 ( surveillance ) 機制的形成。第三章引進布斯克與夏弗 (Alison Brysk and Gershon Shafir ) 提出公民權 (citizenship) 與人權 ( human rights ) 的差距，來揭發片中政治庇護者與外籍勞工在地主國 ( host countries ) 因為缺乏公民權而導致人權被忽視的困境。第四章從傅柯 ( Michel Foucault ) 的反抗 ( resistance ) 與拉克勞 ( Ernesto Laclau ) 與穆芙 ( Chantal Mouffe ) 的激進多元民主 ( radical plural democracy ) 的概念，探討以跨種族、階級，與性別的聯合 ( solidarity ) 來對抗國家制度本身的裂縫與經濟全球化的無情剝削。最後總結在全球化時代，唯有檢視國家制度的缺失，並揚棄封閉排他的意識形態，才能體現種族與文化的差異與多元性，並促進跨界聯合之實現。 / This thesis aims to explore the issue of citizenship and human rights in Stephen Frears’s Dirty Pretty Things. Dirty Pretty Things describes the British government’s surveillance on asylum seekers, such as Okwe, an illegal refugee from Nigeria, and Senay, the Turkish asylum applicant, and unveils illegal refugees’ organ trade in exchange for passports in London. The thesis attempts to decipher how the ambivalent status of asylum seekers disturbs the surveillance of nation-states, exposes the defect of the citizenship gap and argues only through solidarity among different ethnicity, class and gender, could the subordinated fight against deficiencies in the mechanism of nation-states and exploitation of global capitalism. Through the perspectives of Derrida’s conditional hospitality and Foucault’s Panopticon, Chapter Two examines the surveillance of nation-states on asylum seekers in Dirty Pretty Things. In Chapter Three, I adopt Brysk and Shafir’s analysis to explore the citizenship gap between citizenship and human rights in the film, which reflects the difficulty in handling the cases of legal and illegal asylum seekers in nation-states on the basis of citizenship in the era of globalization. In Chapter Four, I will utilize the perceptive of Foucault’s resistance and Laclau and Mouffe’s radical plural democracy to suggest how counter strategies and solidarity could rebel against fissures in nation-states’ apparatuses and reveal a new possibility of alliance beyond borders in the era of globalization. The last chapter concludes by summing up the gaps in the system of nation-states and rejecting any enclosed ideology so as to articulate multiplicities and differences beyond limitations of ethnicity, class and gender across borders in the era of globalization.