在路易斯‧卡洛（Lewis Carroll）的小說《愛麗絲夢遊仙境》（Alice’s Adventures in Wonderland, 1865）中，愛麗絲是個透過夢境冒險於地底的旅行者。在她的旅行中，愛麗絲一直無法掌握仙境中各種事物的意義，而產生了「怪誕」（the uncanny）觀感，因為仙境中的事物總是一方面打破、另一方面卻怪誕地指涉地面上的世界。本論文擬從「旅行時空性」、「旅行本質」與「愛麗絲做為旅行者」三個面向去解讀愛麗絲旅行的涵意。 / 本論文第一章為總論性質的介紹。第二章從心理學潛意識分析討論文學中的「幻見」（fantasy）與「奇幻文學」（fantasy literature）中的旅行主題。本論文主張潛意識與現實息息相關，愛麗絲夢境中的旅行因而帶有真實色彩。本論文以法國哲學家德勒茲（Gilles Deleuze）的「遊牧」（nomadology）與「變成」（becoming）理論為基礎，結合伊斯蘭（Syed Manzurul Islam）從德勒茲理論延伸出的旅行理論，為小說中的旅行主題帶出新的觀點與視野。 / 第三章分析仙境的時空性（spatiotemporality）與時空性對愛麗絲的旅行者角色的影響。伊斯蘭將旅行者分成兩類：遊牧旅行者（nomadic traveler）與靜止旅行者（sedentary traveler）。遊牧旅行者脫離現在（the present），在平滑空間（smooth space）中進行其「變成」過程；靜止旅行者則只侷限於有限時間中，在固著空間（rigid space）的特定路線移動。因此，旅行的時空性影響旅行者成為遊牧旅行者或靜止旅行者。本論文指出，仙境的多重時空性供給愛麗絲成為遊牧旅行者的機會。 / 第四章著重探討愛麗絲的旅行本質與她的旅行者角色，從分析愛麗絲與他者的相遇情形、她的旅行速度與移動，到她在地底世界的「變成」過程。愛麗絲在仙境的「變成他者」（becoming-other）有待商榷，她不斷地侷限自己於維多利亞（the Victorian）的規範中，無法「與他者相遇」（encounter the other），無法以緊密的速度（speed of intensity）進行「去畛域化」（deterritorialization）。儘管仙境的時空特性促使愛麗絲往遊牧旅行的路線前進，但是她缺少擺脫過去記憶與偏見的決定性動作。愛麗絲的旅行擺盪在「變成他者」、成為遊牧旅行者的邊緣地帶。 / 愛麗絲的旅行既不是靜止旅行，也不是遊牧旅行；她有自己獨特的旅行風格，總是擺盪在靜止旅行者與遊牧旅行者的角色之間。她沒有像遊牧旅行者一樣「變成他者」；她處於無止盡的「變成（遊牧）旅行者」（becoming-(nomadic) traveler）過程中。 / In Lewis Carroll’s Alice’s Adventures in Wonderland (1865), Alice is a traveler, adventuring in the fantastic underground under the framework of her dream. Alice’s failure to grasp sense in Wonderland and her constant suspicion of things and inhabitants make her travel an uncanny one, for events in Wonderland always disturb but uncannily refer to those of the above world. This thesis attempts to explore the secrets of Alice’s travel lurking in the dream scenario, identifying and explicating her role as a traveler in the miraculous Wonderland from three aspects of travel: traveling spatiotemporality, the nature of travel and the traveler herself. / Chapter One is a condense, general introduction to the whole thesis. Chapter Two discusses the psychoanalytical theory of the unconscious, the theory of fantasy in literature, and the motif of travel in fantasy literature. The inseparable relationship between the unconscious and the reality will be introduced first. It is this relationship that makes Alice’s travel in her dreamland being effective and possible in the real world. Employing the Deleuzian theory, this thesis takes Gilles Deleuze’s ideas on “nomadology” and “becoming” as the main theoretical framework. Being accompanied with Syed Manzurul Islam’s ideas on the ethics of travel, which is derived from the Deleuzian theory, this thesis takes a step further to develop a new perspective on travel account. / Chapter Three deals with the spatiotemporality of Wonderland, analyzing its spatiotemporal nature and the way it influences Alice’s role as a traveler. Islam divides traveler into two categories—a nomadic traveler and a sedentary traveler. A nomadic traveler is one who eludes the present, undergoing the process of becoming-other on the smooth space, whereas a sedentary traveler is one who travels on pre-set routes of the rigid space within limited temporality. Therefore, the spatiotemporality of a travel will affect the kind of a traveler Alice would be. The multiple spatiotemporality of Wonderland provides Alice with a good foundation to become a nomadic traveler. / Chapter Four concentrates on Alice’s travel and her role as a traveler, analyzing her encounter with the other, her traveling speed and movement, and her becoming in the fantastic underground world. Alice is problematic in becoming-other, since she keeps being captive in the representation of norms received from the Victorian overground which makes encounter with the other and deterritorialization with intensity of speed impossible. Although the spatiotemporality of Wonderland pushes Alice forward to the process of a nomadic travel, she lacks a final move to shake off the confinement of the past memories and preconceptions. Alice is on the brink of becoming-other as a nomadic traveler. / Alice’s travel is neither a sedentary nor a nomadic one; she has a travel of her own, always vacillating between a sedentary traveler and a nomadic traveler. As a sedentary traveler, she is not becoming-other as a nomadic traveler, but on the process of becoming-(nomadic) traveler.

澳洲原住民已經生存在澳洲大陸長達四萬年。他們有著自成一套的宗教系統、神話、風俗習慣、語言和藝術，遵循著使人和自然都共榮的生存方式。但是，由於白人的入侵，企圖強占他們的土地，使得澳洲原住民幾乎要絕滅。在大規模的屠殺和白人從歐洲帶來的傳染病流行之下，原住民的人口急遽減少，連他們的文化都受到威脅。因此，原住民成為澳洲社會中被邊緣化的少數族群。 因此，此篇論文要援引巴赫汀（Mikhail Bakhtin）提出的「時空型」的概念、法國史學家納拉（Pierre Nora）對於記憶的看法及相關的原住民文化，去探討傑克•戴維斯在《頭生兒三部曲》中，顯示出白澳社會對於原住民的壓迫及原住民在重建文化記憶和原住民本質的強化之下，所表現出來生存的毅力。第一章包含了白人和澳洲原住民接觸的歷史背景、傑克•戴維斯及其劇作的簡介，其他評論家對於《頭生兒三部曲》的評論。第二章中，我要援引巴赫汀的「時空型」的概念來討論在白人政府的壓迫之下，原住民所處嚴酷的社會環境及原住民弱勢的社會地位給原住民帶來的影響。第三章則援用納拉對於記憶的論點來分析戴維斯藉由說故事、舞蹈和夢境來創造「記憶場域」（lieux de mémoire）以保留原住民對於其文化的記憶。第四章則是探討原住民本質所帶來的能力增強。藉由此能力強化，原住民得到了對抗白人迫害的力量，且可以為自己發聲。第五章則是為前四章所論做總結。 / Indigenous Australians have lived in Australia for 40,000 years. They develop their own system of religion and mythology, social conventions, language and arts, observing a life that can make both the environment and human beings prosperous. But Aboriginals are driven to extinction by the White who intend to possess their land. Because of large scale of massacres and diseases, both the number of Aboriginal population and their culture are endangered. Indigenous Australians become the marginalized minority in Australian society. Therefore, with the reference to Mikhail Bakhtin’s idea of the chronotope, Pierre Nora’s concept of memory and related Aboriginal culture, this thesis aims to discuss that Jack Davis, in The First Born trilogy, presents the oppression of White Australian society to Aboriginal people and displays Aboriginals’ persistence in survival through the reconstruction of Aboriginal memory and the empowerment of Aboriginality. Chapter One includes the general historical background of the contact between the White and Aboriginals, the introduction to Jack Davis and his plays, and the criticism on Davis’s trilogy. In Chapter Two, I take advantage of Bakhtin’s idea of the chronotope to discuss the severe social environment of indigenous Australians who are oppressed by the White Australian government and the social consequences of Aboriginals’ disadvantaged position in society. Chapter Three aims to utilize Pierre Nora’s concept of memory to analyze that Davis, through stories, dances, and dream visions, creates lieux de mémoire to preserve Aboriginal memory. Chapter Four concentrates on the empowerment of Aboriginality, which offers a subversive force for Aboriginals to fight against the White persecution and have their voice heard. Chapter Five is the concluding chapter to wrap up these three plays.

「真理很少是純粹的，並且絕對不是簡單的」劇作家王爾德(Oscar Wilde)這樣說過；這句話看來十分適合本論文所討論的對象:馬克思(Karl Marx)的理論思想。本論文旨趣核心是對於存在社會制度中的經濟現象的研究，馬克思體系給予我們的並不只是單純的當代經濟學探討而已，本論文題目定為「經濟與社會的辯證」即是要從歷史和社會變遷的角度詮釋馬克思的經濟理論，其中他所建立在社會客觀價值的勞動、貨幣、資本和再生產的看法，使他的學說有著複雜的深意。筆者認為，因為馬克思追求一種人類能夠處於絕對平等的社會，故當他談論經濟與社會的辯證關係時，是根據其集體解放的自由王國目的賦予整體性，價值、生產方式、階級、共產社會言說的空間，本論文的副標題「論馬克思典範及其當代社會制度意義」即在詮釋這一空間的理論與現實。從本論文的結構來說: 第一章娓娓道來的是馬克思歷史理論得以成立的時間架構基礎。其演化色彩的社會學雖然和孔德(A. Comte)，涂爾幹(E. Durkheim)一樣皆立基於十九世紀實證主義的思潮和「朝向工業化轉變」的時代問題；但本論文從自然/歷史，結構/事件，重覆/預測，循環/線性各個時間面向和層次的具體分析顯示，馬克思的「螺旋時間」的辯證思考背景，使他的歷史唯物論超越同時代的理論侷限。筆者在本章的討論側重直接援引馬克思著作和詮釋者的證據說明螺旋時間，並且強調由時間架構開展出來的馬克思「歷史理論是其經濟論述的一般理論」的本論文基本立場。 第二章建構馬克思典範。首先筆者交待了他的方法，辯證唯物論和整體性的概念息息相關的原因。然後，討論在馬克思方法下傳統的對於社會結構(基礎/上層建築)的詮釋，可以在考慮螺旋時間，整體性，辯證法和動態的社會變遷後被擴充為更為精確的三元層次(基礎/階級/上層)內容。筆者認為稚有這樣的「經濟先行的整體觀」才能完整表達馬克思典範的既能預測社會發展也能顯示社會結構和制度反覆出現的歷史必然性。在此，筆者討論了馬克思對於生產力生產關係、階級，意識形態等概念的看法，並從生產方式和社會型態的變遷的若干史實和詮釋闡揚這些概念所形構的馬克思典範對社會世界的具體把握，在時間的過程中它有著階段性的發展。同時，筆者制別列舉一個當代社會運動理論的實例，和典範的動態變動作平行比較，藉以彰顯馬克思思的實踐意涵。 第三章談論馬克思的經濟理論。要釐清歷史必然性中人類的自由如何可能，馬克思認為關鍵在價值的概念。它必須是能體現社會正義的客觀勞動價值，一個社會制度的設計應該朝向這個目前進(所以他用抽象的社會必要勞動時間作勞動衡量換算的基準，對剩餘價值的分配，價值/價格的轉形，財產所有權的公有化進行說明)否則的話，那必然是一個異化的，有剝削的經濟社會，資本主義社會就是馬克思的例子。筆者在本章先從經濟史比較亞當‧斯密(A. Smith)、李嘉圖(D. Ricardo)，邊際效用學派，和馬克思對價值看法的異同，再提出馬克思的作為基礎經濟結構根本的勞動價值說，並論斷其缺點和貨幣資本的形成，接著根據《資本論》原典，筆者對轉形問題，簡單再生產，擴大再生產和資本主義的經濟危機理論有所詮釋和探討。最後，將馬克思的經濟理論回歸歷史，說明變化社會中的勞動價值意義，所有的社會都可以有商品生產及勞動價值，但筆者指出馬克思的想法是，只有資本主義社會的特殊生產方式(雇傭勞動，追求資本積累)其剝削的經濟關係才有剩餘價值問題和異化勞動問題。無階級的共產社會是一個廢除商品生產的世界，價值律不再作用，經濟現象的運作依靠(1)生產者管理(2)計劃經濟。 在舖陳了馬克思典範的一般性(歷史理論)和特殊性(經濟理論)之後，第四章的重點筆者放在當代社會制度的典範檢討。首先是對支配二十世紀資本主義社會的考察。筆者提出三個簡潔的字眼：全球化，壟斷資本及疏離總括現代社會。其中企業規模擴張及全球的合作與衝突，所有權制的無名化，民主化和公共化，經理階層興起與銀行信用制度的轉變造成當代生產方式的變態，在在形構成為今日的壟斷資本主義社會，它的生活面向的展現即是一個以享樂、消費為主的大眾社會。服務業既是它的主體，則多元化的階級在業已自動化的社會從事各種勞動，異化在日常生活中成為時代的共同現象，筆者藉上述三個字眼的內涵深度討論馬克思典範的現實。進一步，筆者嘗試透過對現代經濟學的奠基者凱因斯(J.M.Keynes)和馬克思的經濟危機理論比較，顯示馬克思經濟理論的時代應用性，並直接提出從長時段的社會變遷角度來看，經濟危機理論，凱因斯的方案在某種程度上可被視為馬克思理論的短期分析。福利國家的資本積累/合法性維持的矛盾使得失業、通貨膨脹諸問題仍未獲得解決，這種「混合經濟」的修補同樣也發生在社會主義國家的經濟改革。筆者對於兩種社會制度的混合經濟表現的國家和政治型態有充分的釐清(從所有制和國家干涉的目的著手)，並且經由「短缺經濟」，「市場社會主義」論證了馬克思經濟理論的現實有著極其嚴重的缺失，它標示著史達林(Stalin)式中央計劃經濟的崩潰，也表示了市場價格機能的必要性。最後，筆者討論了「第三條路」的社會主義經濟改革思潮的優缺點，馬克思主義不懈的努力在於尋找公共福祉和個人營利平衡的整體。 總結的地方筆者強調，今日社會制度的經濟問題是世界問題，不管資本主義或社會主義制度，在二十世紀都面臨嚴厲的考驗，筆者指出了馬克思典範作為一個社會學理論的意義和侷限。並且毫不諱言筆者對於馬克思螺旋演化的歷史終站：人人從事勞動自由的無階級社會的期待與嚮往，它當然是建立在對現實的反省與研判上。

過去文獻對於房價的研究，不管是應用橫斷面分析探討個體層面影響房價之因素，或是應用時間數列分析房價的長期勢，抑或是在分析房價與總體經濟變數間的關係時，多忽略不同次級市場間的互動關係，然而不同次級市場的房價常因為替代性或者是互補性而產生波及效果。 因此本研究將次級市場以行政區域來劃分，以北部地區的四個行政區（台北市、台北縣、基隆市、桃園縣）為研究範圍，利用時空數列分析方法，首先以單根檢定與共整合方法分析四個次級區域的房價時間數列是否有穩定特性，區域房價間在長期是否具有一種穩定的線性組合關係，以說明四個次級區域間房價的異質性與相依性。其次，應用具有誤差修正機制的向量自我相關模型，亦即VECM（Vector Autoregression in Error Correction Model），利用誤差修正模型探討區域房價在次級區域短期失衡時的調整速率，並以Granger因果檢測其間的互動關係及區域房價在時間上、空間上的領先、落後關係。最後對於影響區域房價的重要總體變數納入考量，分析重要區域總體變數在空間上與時間上的相關性與互動性。

空間認知(Spatial Cognition)指出人所理解的空間複雜度，也就是人與環境互動的過程中，經由記憶與感官經驗，透過內化與重建產生物體在空間的關係認知。認知圖(Cognitive Map)是最常被使用在評估空間認知。分析學生所畫的認知圖有助於老師們瞭解學生的空間認知能力，進而擬定適當的地理教學設計。我們視空間認知發展的學習歷程檔案是由這些認知圖所構成。隨著數位學習科技的進步，我們可以透過探勘認知圖的方式，探討空間認知發展的學習歷程檔案。因此，我們藉由透過圖像的空間資料探勘，分析學生空間認知發展的學習歷程。 空間資料探勘(Spatial Data Mining)主要是從空間資料庫或圖像資料庫中找出有趣且有意義的樣式。在論文中，我們介紹一種空間樣式(Spatial Co-orientation Pattern)探勘以提供空間認知發展學習歷程的分析。Spatial Co-orientation Pattern是指圖像資料庫中，具有共同相對方向關係的物體(Object)常一起出現。例如，我們可以從圖像資料庫中發現物體P常出現在物體Q的左邊，我們利用二維字串(2D String)來表示物體分佈在圖像中的空間方向關係。我們透過Pattern-growth的方法探勘此種空間樣式，藉由實驗結果呈現Pattern-growth的方法與過去Apriori-based的方法[14]之優缺點。 我們延伸Spatial Co-orientation Pattern的概念至時空資料庫(Spatio-temporal Database)，提出從時空資料庫中，探勘Temporal Co-orientation Pattern。Temporal Co-orientation Pattern是指Spatial Co-orientation Pattern隨著時間的變化。論文中，我們提出兩種此類樣式，即是Coarse Temporal Co-orientation Pattern與Fine Temporal Co-orientation Pattern。針對此兩種樣式，我們提出三階段(three-stage)演算法，透過實驗分析演算法的效率。 / Spatial cognition means how human interpret spatial complexity. Cognitive maps are mostly used to test the spatial cognition. Analyzing cognitive maps drawn by students is helpful for teachers to understand students’ spatial cognitive ability and to draft geography teaching plans. Cognitive maps constitute the portfolios of spatial cognitive development. With the advance of e-learning technology, we can analyze portfolios of spatial cognitive development by spatial data mining of cognitive images. Therefore, we can analyze portfolios of spatial cognitive development by spatial data mining of images. Spatial data mining is an important task to discover interesting and meaningful patterns from spatial or image databases. In this thesis, we investigate the spatial co-orientation patterns for analyzing portfolios of spatial cognitive development. Spatial co-orientation patterns refer to objects that frequently occur with the same spatial orientation, e.g. left, right, below, etc., among images. For example, an object P is frequently left to an object Q among images. We utilize the data structure, 2D string, to represent the spatial orientation of objects. We propose the pattern-growth approach for mining co-orientation patterns. An experimental evaluation with synthetic datasets shows the advantages and disadvantages between pattern-growth approach and Apriori-based approach proposed by Huang [14]. Moreover, we extend the concept of spatial co-orientation pattern to that of temporal patterns. Temporal co-orientation patterns refer to the change of spatial co-orientation patterns over time. Two temporal patterns, the coarse temporal co-orientation patterns and fine temporal co-orientation patterns are introduced to be extracted from spatio-temporal databases. We propose the three-stage algorithms, CTPMiner and FTPMiner, for mining coarse and fine temporal co-orientation patterns, respectively. An experimental evaluation with synthetic datasets shows the performance of these algorithms.

本篇論文的目的在介紹階層貝氏之時間與空間統計模式(spatio-temporal model)，將此模式應用在疾病地圖的分析，以了解疾病在空間上的分佈狀態與時間趨勢。模型中除了納入時間、空間和年齡的效應外，也包括時間與空間、時間與年齡的交互作用，並考慮到空間相關性(spatial correlation)，然後以DIC值(Deviance information criterion)作為模式選取的準則。 本文並以民國88-90年全身紅斑性狼瘡的女性患病人數做為實證分析的資料。配適時間與空間統計模式後，以馬可夫鏈蒙地卡羅法(MCMC)來模擬參數值，估計出各時間、地區、年齡層的對數疾病發生率。由疾病地圖可看出，台灣地區全身紅斑性狼瘡的女性疾病發生率，以20-59歲的年齡層發生率較高，0-19歲的發生率較低。不管在哪一個年齡層，北部和中部地區的發生率都是最高的。時間趨勢方面，88-90年整體疾病發生率有遞減的趨勢，60歲以上的發生率也是遞減的趨勢。但在部分地區，則有發生率遞增的趨勢。 / In this study, we introduce the spatio-temporal model in a hierarchical Bayesian framework and use disease maps to display the spatial patterns and the temporal trends of disease. A special feature of the model is the inclusion of spatial correlations used to examine spatial effects relative to both regional and regional changes over time by group. Then, we use deviance information criterion (DIC) to compare complex hierarchical models. The methodology is illustrated by an analysis of female Systemic Lupls Erythematosus (SLE) morbidity data in Taiwan during the period 1999-2001.The model inference is implemented using Markov chain Monte Carlo method. The outcomes of the practical analysis appear that the higher morbidity rate occurs in 20-year and 40-year period. No matter what age group, the morbidity rate is highest in the north and the middle of Taiwan. Furthermore, the morbidity rate decreases with respect to year as well as over the 60-year period but it increases in some places.

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.