大多數學者通常從後殖民的觀點閱讀佛斯特的《印度之旅》(A Passage to India, 1924)，因此，他們的批評大多聚焦在「對他者的再現」(the representation of the other)。然而，這些學者忽略了在《印度之旅》中，自我與他者的交會乃是旅行的結果。雖然探討《印度之旅》中種族間互動的評論不在少數，但旅行的概念卻常被視為理所當然。如同小說標題所示，《印度之旅》乃是一趟從英國至印度的旅行，因此，本論文擬以「旅行敘述」(travel narrative) 的觀點閱讀《印度之旅》。然而，「旅行」一詞的意義到底為何？根據《牛津英語大辭典》，「旅行」大致意味著空間上的移位。然而，本文企圖以「暴露於他者」(exposure to the other)、「自我的去疆域化」 (deterritorialization of the self) 與「變成他者」 (becoming-other) 重新定義旅行。 既然旅行涉及自我與他者之間的互動，本文先援引列維納斯 (Emmanuel Levinas) 的「他者的倫理」(ethics of the other) 來區分「激進他者」 (radical other) 與「抽象他者」(metaphysical other)。接著，本文引用德希達 (Jacques Derrida) 對列維納斯的閱讀與他對「悅納異己」(hospitality) 的討論，以進一步闡述他者的概念。為了探討自我在他者影響之下的轉變，本文亦運用德勒茲 (Gilles Deleuze) 與瓜達里 (Félix Guattari) 的「再疆域化」(reterritorialization)、「去疆域化」(deterritorialization)、與「變成」(becoming) 的概念。這些理論的整合導出了伊斯蘭 (Syed Manurul Islam) 所區分的兩種旅行──靜止旅行(sedentary travel) 與遊牧旅行 (nomadic travel)。 本文共分五章：〈第一章：導論〉、〈第二章：理論架構〉、〈第三章：靜止旅行〉、〈第四章：遊牧旅行〉與〈第五章：結論〉。〈第二章：理論架構〉主要闡述上面所提及的理論家。〈第三章：靜止旅行〉藉由費爾亭 (Cyril Fielding) 與何德蕾 (Adela Quested) 闡明靜止旅行的概念。相較於費爾亭，何德蕾的例子較為複雜，因為她經歷了兩次去疆域化的過程 (第一次在馬拉巴山洞裡，第二次在法庭上)。〈第四章：遊牧旅行〉則聚焦在摩爾夫人 (Mrs. Moore) 這個角色上。這章的編排不僅與小說劇情的時間性一致，也企圖呈現摩爾夫人所經歷的三個階段的轉變。 / Most critics tend to read E. M. Forster’s A Passage to India (1924) from the perspective of post-colonialism, and therefore, the focus of their criticism is often on the representation of the other. However, these critics neglect the fact that the encounter of the self with the other in A Passage to India is in fact a result of travel. Although there is much discussion on racial interaction in A Passage to India, the concept of travel is more than often taken for granted. As the title of the novel indicates, A Passage to India deals with a travel from England to India, and hence, this thesis examines the novel from the perspective of travel narrative. Yet, what does the term “travel” signify? According to Oxford English Dictionary, travel generally refers to a displacement in space. Nevertheless, this thesis tries to re-define “travel” in terms of exposure to the other, deterritorialization of the self, and becoming-other. Since travel narrative deals with the vacillation between the self and the other, this thesis begins with Emmanuel Levinas’s ethics of the other to distinguish the radical other from the metaphysical other. Next, this thesis includes Jacques Derrida’s theories of “hospitality” for further elaboration on the concept of the other. In order to probe into the transformation of the self under the influence of the other, this thesis also employs Gilles Deleuze and Félix Guattari’s ideas of “reterritorialization,” “deterritorialization” and “becoming.” The compilation of these theories, finally, amounts to Syed Manurul Islam’s division between two kinds of travel—sedentary travel (travel without traveling) and nomadic travel (traveling without return). This thesis is divided into five chapters: “Introduction” (Chapter One), “Theoretical Framework” (Chapter Two), “Sedentary Travel” (Chapter Three), “Nomadic Travel” (Chapter Four) and “Conclusion” (Chapter Five). Chapter Two, “Theoretical Framework,” is an elucidation of the above mentioned theories. Chapter Three, “Sedentary Travel,” illustrates the concept of sedentary travel by exploring Cyril Fielding and Adela Quested. Adela’s case is much more intricate when compared to Fielding’s, for she goes through two instances of deterritorialization: the first in the Marabar Caves and the second in the court. Chapter Four, “Nomadic Travel,” focuses on the character Mrs. Moore. The exploration of Mrs. Moore not only corresponds to the chronological sequence of the plot but also aims to explain the different stages of transformation Mrs. Moore undergoes.

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.

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.