本論文主旨在闡明巴洛可之摺與書信體文類的關係。我爰用奇理斯‧狄洛伊茲(Gilles Deleuze)巴洛可之摺的動能概念來詮釋山繆爾‧李察遜的《克萊麗莎》(Samuel Richardson, Clarissa, or the History of a Young Lady)，並證明書信體形式上的特徵之於其故事內容有決定性的影響。近年來有關《克萊麗莎》的理論多卓著重於其言說的論戰，即小說的內容而非就書信體文類本身特色加以發揮。書信體小說是由信件集結而成，在形式上的特色與其它敘述文類實有很大的區別。因此，在閱讀書信體小說時必不能忽略一些機械性的外在因素之於敘述內容的影響。一封信從寫成、裝入信封、封口、送信、收信、拆信、讀信、等等步驟，其間上述程序有可能重複，而每個環節都使得信件為傳遞媒介的不確定性增加。事實上，一封信所傳達的訊息常取決於外在的、物質性的攜帶者，即其形貌留給予觀者的印象。將巴洛可的概念引介入書信體文類就是要強調書信的「形」如何作用於文本。《克萊麗莎》是一個豐盛繁茂、難以箝制的巴洛可世界，處於文本外的作者及閱眾亦無可避免地隨著巴洛可之摺的開合而進入書信體小說的佈局中。 / This thesis is to explore the relation of the Baroque fold and epistolarity. By adopting Gilles Deleuze's notion of the baroque of fold presented in The Fold: Leibniz and the Baroque, I will demonstrate how the formal features structurally and thematically influence Samuel Richardson's epistolary novel Clarissa, or the History of a Young Lady(1747-48). Epistolary writing is a form-conscious narrative. Besides the letter enclosed, the content, there are many mechanic factors affecting the delivery of a message. A letter is written and signed, yet it is only the initial stage of the correspondence. From the envelope, the seal, to the process of transmission, every step plays an indispensable role and thus makes letter not a passive carrier but a message-shaper with autonomous force. To read Clarissa in the light of the Baroque is to accentuate the importance of the formal features that have tremendous effect in animating the epistolary world. Furthermore, I compare the public-entailed nature of the private writing in an epistolary novel to the subject-forming process, and show how people inside and outside the text are irresistibly drawn into the (un)folding movement of the epistolary Baroque world.

透過主角兼敘事者奧芙弗雷德 (Offred) 的信件書寫，愛特伍 (Margaret Atwood)《使女故事》(The Handmaid's Tale, 1986) 一書回憶並訴說過往的故事。奧芙弗雷德的敘事打破順時性，呈現了斷裂與曖昧難解的狀況，點出了敘事者對於其所訴說的過去缺乏完整的理解。本論文從創傷敘事的角度分析《使女故事》，試圖探究奧芙弗雷德敘事中缺乏連貫的起因。 本論文分成五章來探討奧芙弗雷德的敘事，以期完整呈現小說中創傷敘事與語言、書信模式所交織成的複雜關係。第一章介紹《使女故事》的梗概與相關評論，並說明本論文所使用的理論架構。第二章以傅柯 (Michel Foucault) 的語言理論，探討語言與權力統治的關係與其在「反烏托邦」(dystopia) 世界中所承擔的角色，進而分析奧芙弗雷德如何一步步地取回了原本被禁用的語言，透過敘事釋放潛藏的溝通慾望。第三章則透過佛洛伊德 (Sigmund Freud) 的創傷理論與後續發展的創傷敘事研究，檢視奧芙弗雷德令人困惑的敘事。第四章藉由巴赫汀 (Mikhail Bakhtin) 的對話論 (dialogism) 分析書信模式在奧芙弗雷德敘事 (narration)／重構 (reconstruction) 中的影響與作用。最後，第五章討論愛特伍在文本末章〈史料〉("Historical Notes") 呈現對書信編輯一角的翻轉，並點出奧芙弗雷德對於敘事的堅持來自於她對於溝通與生存的期望。 / Through the narrator-protagonist Offred's letter-composition, Margaret Atwood's The Handmaid’s Tale (1986) unfolds as Offred recalls her past to tell the story. Offred's narrative is not chronological, but elusive and fragmentary. The scattered narrative fragments indicate Offred's incomplete understanding of the past. The present thesis seeks to explore the intricate cause of Offred’s narrative fragments by reading The Handmaid's Tale as a trauma narrative. To gain a full picture of Offred's trauma narrative, the thesis is divided into five chapters. Chapter I introduces The Handmaid's Tale and its literature reviews and explicates the theoretical approaches used in the thesis. With the introduction of Foucauldian discourse on language, Chapter II focuses on the role of language in relation to power in dystopia. In addition, the chapter illustrates the process of Offred's gradual regaining of the denied language and embarking on her narrative expedition, seeking to communicate. Meanwhile, Chapter III focuses on Offred’s puzzle-like narrative, inspecting her narrative through the lens of the Freudian trauma theory and trauma narrative. Chapter IV analyzes the function of the epistolary form in Offred's reconstruction of the past with the Bakhtinian dialogism. Finally, Chapter V discusses Atwood's revision of the role of the editor demonstrated in the epilogue "Historical Notes" of The Handmaid's Tale and concludes with Offred's longing for communication and survival that propels her act of storytelling.

在德希達的《明信片：從蘇格拉底到佛洛伊徳之外》(1987)一書中，〈郵寄〉這個文本由許多交換傳遞的明信片所組成。這些收錄於同一文本中的明信片令我們聯想到書信小說中編纂成冊的信件。許多十七、十八世紀的英國與法國書信經典名著構成了書信文類的主要架構，如吉樂哈格的《葡萄牙修女的情書》(1669)、理查生的《潘蜜拉》(1740)與《克萊麗莎》(1747-1748)、葛芬妮的《祕魯公主的情書》(1747)、盧梭的《茱莉，或新伊珞絲》(1761)以及德拉克勞斯的《危險關係》(1782)。面對這些書信文類的前導者，且處於二十世紀傳統書信寫作式微的時代中，是什麼因素促使德希達創作〈郵寄〉這部書信文本呢？〈郵寄〉的書信文本又與傳統書信小說有何不同呢？ 關於這個議題，我所提出的論點是，德希達的〈郵寄〉企圖解構書信文類。〈郵寄〉一方面強化了書信文類特有的書信特質，另一方面又以明信片的郵件傳遞效果取代替換傳統書信小說的書信文類特質。明信片的郵件傳遞效果主要呈現出「傳送終點」與「預期的收信者」這兩種特定規範的不可能性。明信片總是暗示信件傳送過程中「被攔截」與「多元收信者」的可能性。這樣的特質使明信片得以打破囿於最初起點與最後終點做為邊界的直線軌道。如此的突破有助於德希達解構西方知識體系的架構。明信片的郵件傳遞效果動搖了源自蘇格拉底的知識遺產直線傳承，顯示出知識遺產是經由多元讀者所傳遞的，且容許眾多不同的詮釋方法參與其中。多樣性的想法損毀了「原作與衍生」，「在場與缺席」以及「公開與隱私」之間的二元對立邏輯。明信片「半私密，半公開」(《明信片》62)的形式在多樣化所隱含的不確定性之間來回擺盪，游移不定。這種不確定性正是德希達藉由〈郵寄〉這個文本所要強調的。因此，即使身處電信通訊網絡遍佈的時代，德希達依然期望引發「不受拘束的明信片化帝國」(《明信片》104)的可能性。明信片化的意義並非加速書信寫作的「衰微」(《明信片》104)，而是希望能夠不斷地散佈差異產生的可能性。 在本論文中，我從迂迴、延宕與延異這三項特性來闡述明信片的書信特質。這三項特性同時交織於我對〈郵寄〉這個書信文本的討論中。在第一章〈書信文類：強化與替代〉裡，我提出了〈郵寄〉所呈現的似非而是的矛盾，既強化又替代書信文類的特質。書信文類因此被置於差異的迂迴內，而延遲了其文類身份認同的最後裁定。在第二章〈書信他/她者：欲望投射〉裡，我援引拉岡「小寫他/她者」的概念來闡釋書信寫作行為中的自我建構過程。由於寄信者需要缺席收信者的存在以召喚差異的產生，因此寄信者的自我認同總是不斷地在迂迴的信件傳遞空間中被延宕。第三章〈書信寫作：添補的矛盾〉裡，我將德希達對「添補」的概念與書信寫作中添加與替代的效果作了連結。書信寫作彌補了距離造成的溝通差距，同時也以距離替代了最後與缺席收信者真實相遇的那一刻。第四章〈書信交換：Fort Da消失與返轉的遊戲〉中，我比較了佛洛伊德、拉岡與德希達對於fort da遊戲不同的觀察角度。在書信交換的過程裡，當多元讀者的可能性被納入考量時，書信的傳送與接收便會持續地滯留迂迴於讀者的多元閱讀與詮釋，而延遲了到達預定目的地的時間。在第五章〈書信傳承：知識遺產的明信片〉裡，我探討了德希達對於〈郵寄〉中明信片上蘇格拉底與柏拉圖位置返轉圖所做的種種推敲。這些推測暗示了脫離知識體系直線傳承，迂迴而行的可能性。為了再現知識的意涵而創造出的多元詮釋角度會不斷地延宕知識傳承的最終意義。 / In Jacques Derrida’s The Post Card: From Socrates to Freud and Beyond (1987), the part of “Envois” is composed of many exchanged post cards. This collection of post cards reminds us of the letters compiled in epistolary novels. There is a lot of prestige attached to many seventeenth- and eighteenth-century English and French epistolary novels, such as Gabriel de Guilleragues’ The Portuguese Letters (1669), Samuel Richardson’s Pamela (1740) and Clarissa (1747-1748), Françoise de Graffigny’s Letters from a Peruvian Woman (1747), Jean-Jacques Rousseau’s Julie, ou la nouvelle Héloïse (1761), and Choderlos de Laclos’ Les Liaisons dangereuses (1782). These epistolary novels constitute the main frame of the epistolary genre. Then, confronted with the epistolary predecessors, what prompts Derrida to write the epistolary text of “Envois” in the twentieth century, in which the telecommunications networks appear to overpower the importance of writing letters or post cards? What is the difference between “Envois” and the previous epistolary novels? On this issue, I want to argue in my thesis that Derrida’s “Envois” is intended to deconstruct the epistolary genre by paradoxically valorizing and substituting the postal effects of the post card for the generic identities of epistolary novels. The postal effects of the post card primarily invoke the impossibility of the predestined destination and intended receiver. The post card always implies the possibilities of interception and multiple receivers in the process of transmission. In this way, the post card disrupts the linear path confined in the hierarchical opposites between the original departure point and the final destination. This disruption facilitates Derrida’s attempt to deconstruct the construction of knowledge in the Western intellectual genealogy. The postal effects are applied to destabilize the linear succession of intellectual inheritance originated since Socrates. The inheritance is transmitted by multiple readers and hence susceptible to a myriad of interpretations. The binary logic between the original and the derivative, the present and the absent, and the public and the private is undermined in the multiplicity. The form of the post card, which is “half-private half public” (Post Card 62), oscillates in the indeterminacy of multiplicity. The postal effects of indeterminacy aroused in the post card are what Derrida emphasizes in “Envois.” As a result, even in the age replete with the telecommunications networks, Derrida still proposes the possibility of “the unlimited empire of a postcardization” (104). The postcardization does not mean to precipitate the “decadence” (104) of epistolary writing, but it aims to disseminate and recurrently stimulate the possibility of difference. In my thesis, I propose three perspectives to illuminate the epistolarity of the post card: detour, deferral, and différance. They are interwoven in my discussion of Derrida’s “Envois.” In chapter one “Epistolary Genre: Valorization and Substitution,” I propound a paradox that “Envois” simultaneously valorizes and substitutes for the epistolary genre. “Envois” therefore puts the epistolary genre in a detour of difference and defers its determination of identity. In chapter two “Epistolary Otherness: The Object of Desire,” I apply Jacques Lacan’s concept of the object of desire to elucidate the self-construction in the act of writing post cards. The sender’s self-identity is continually deferred in a detour, because s/he requires the absent receiver to evoke his/her difference. In chapter three “Epistolary Writing: Paradox of the Supplement,” I relate Derrida’s concept of the supplement to the paradoxical effects of addition and substitution in epistolary writing. Writing post cards adds to a compensation of the distance, but it also simultaneously substitutes the distance for the final encounter with the absent receiver. In chapter four “Epistolary Exchange: Play of the Fort Da,” I compare Sigmund Freud’s, Lacan’s, and Derrida’s different observations on the fort da game. The fort da movements of epistolary exchanges are interminably deferred in a detour, when multiple readers in the process of transmission are taken into consideration. The multiple readers replenish possibilities of differences with a variety of interpretations. In chapter five “Epistolary Inheritance: Post Card of Intellectual Legacy,” I explore Derrida’s speculations on the scene of reversal copied on the post cards collected in “Envois.” The scene of reversal between Socrates and Plato is speculated to imply possible detours away from the linear succession of genealogy. Different representations of knowledge persistently defer the final determinate meaning of the intellectual inheritance.

基於生理、心理與社會因素，女性愉悅較男性複雜。本論文試圖藉由美國當代暢銷作家尼克拉斯‧史派克的愛情小說為文本，結合許多性別相關的理論去探討女性愉悅。史派克的羅曼史是當代文本，唯美的純愛是其特色，然而，這些帶來美好感受的愛情故事，是否是讀者們真心嚮往的美好愛情? 讀者在享受閱讀文本的當下，或許也默默地被一種僵化的愛情公式所限制，所謂的快樂，也許只是一種暫時的麻痺。 本篇論文從幾個不同角度切入去分析女性愉悅和羅曼史的關聯，第一章以丁尼斯坦的理論為切入點，就心理與社會層面探究為何女性在選擇伴侶上比男性有著更多限制，其理論也連結到嬰兒期由母親養育對於不同性別成年後伴侶關係有影響 ; 第二章以史派克這三本羅曼史<<手札情緣>><<瓶中信>><<分手信>>文本為主，並結合性別理論去分析羅曼史，探討其女性在羅曼史中的真相為何，文本裡也有許多部份展現出女性的許多壓抑；第三章以讀者回應為主要分析，藉由社群網站臉書的讀者真實回應，並結合過去其他做過相關讀者回應的理論與實際田野調查，分析不同時候讀者都藉由羅曼史得到快樂，不同的讀者群有共同與相異的讀者回應；第四章從這三本羅曼史的書信體形式，研究他者的缺席如何帶來快樂與痛苦，遠距離的愛情造就書信的存在，這其中的等待與期待，盼望與失望，主體不斷找尋失落客體的過程，都不斷創造失落與愉悅；第五章結論綜合前四章論點，提出女性要真正愉悅的努力方向。 / Due to biological, psychological and social reasons, female pleasure is seen as much more complicated than male pleasure. In this thesis, I try to analyse female pleasure by applying gender theories to the romances of Nicholas Sparks. Sparks is a contemporary writer mainly producing pure love stories. Are these love stories the ideal that readers pursue? When readers get pleasure from reading romance, they may be brainwashed unconsciously and limited by a fixed pattern of love. So-called happiness might be a temporary escape. This thesis attempts to analyse the relationship between female pleasure and romance from several perspectives. Chapter 1 assesses Dorothy Dinnerstenin’s viewpoint that women face more psychological and societal constraints when choosing a partner. The mother takes care of children when they are infants, leading to differentiation of the opposite sex as they grow up. Chapter 2 examines three of Sparks’ romances – The Notebook, Message in a Bottle and Dear John – in the context of various theories to analyse the truth in romance and how repression is reflected in these texts. In Chapter 3, readers’ responses are the main focus. I have used readers’ responses gathered from Facebook and have made a connection with other romance reader responses. I have also attempted to combine both the similar and different viewpoints in Radwan’s Reading Romance and Linda K. Christian-Smith’s Becoming a Woman through Romance with my own analysis. In Chapter 4, I have used the epistolary form of these three romances to research how the lack of the other brings pleasure and pain. The epistolary form stems from long distance relationships, and during the process of waiting letters, the subject keeps finding the lost object and acquires pleasure and pain again and again. Chapter 5 is my conclusion and proposes a way for women to find real pleasure.

本論文針對基督宗教宗徒教父作品之《十二宗徒訓誨錄》、《克來孟致格林多人前書》、《依那爵主教七封書信》，與早期天師道之經書《老子想爾注》、《大道家令戒》、《陽平治》中的蒙選思想，進行經典分析與比較研究。研究方法除了縱向的經典分析之外，亦採橫向主題討論與比較。在個案分析方面，本論文指出︰《十二宗徒訓誨錄》的蒙選思想特點是「遵守規範與誡命以確保選民身分」、「呈現出猶太基督徒的信仰跳躍」；《克來孟致格林多人前書》特點是︰「蒙選標準的改變︰義人vs.惡人」、「蒙選者的神祕數字」、「教會︰集體式的蒙選思想」；《依那爵七封書信》特點是︰「殉道與磨難是基督徒蒙選的記號」、「基督徒是天主之愛的果實」、「基督是唯一的天父之門」；《老子想爾注》特點是︰「道是有意志的至高神，祂的旨意是創造與救援」、「蒙選之人與偽技」、「恪遵道誡就是守約」；《大道家令戒》與《陽平治》特點是︰「天人盟約︰正一盟威之道」、「種民︰道教式的『選民』」、「種民︰與男女合氣或黃赤之術無關」。在橫向主題式的比較方面︰一、「盟約與蒙選」指出盟約是神（或道）的旨意與人的意願二合一的結果，這個觀點不僅見於三件宗徒教父作品中，也同見本研究分析之早期天師道經書中，同時，均明確強調「至誠之心」的重要性，而盟約也是祝福、並且神（道）與人雙方自願受束縛的表示。二、「罪與蒙選」指出宗徒教父時期延續以色列信仰傳統中創造、犯罪、盟約、蒙選的思想，但是「克來孟」或依那爵均高舉耶穌基督之血建立的新約的重要性。「種民」則是在罪惡世界中因奉法有功且積極行善，蒙老君揀選獲救的道民，儘管了不可得，但「道」並沒有放棄救援的意願。三、「蒙祝福的種嗣」方面，基督徒的「選民」具有濃厚的「種嗣」思想，而「種民」辭彙中亦有「罪惡世界中蒙祝福的種嗣」的意思，在天人符應過程中，是使天地再度出現太平氣的關鍵角色。 / This research focuses on the ideas of ‘the divine election’ in the following documents: the Didache, 1 Clement, 7 Epistles of Ignatius of Antioch, Lao-Zi Xiang’er Zhu(The Xiang’er commentary of the Dao-de Jin,老子想爾注), Dao-dao Jialing Jie (The Rules Governing the Family of the Dao,大道家令戒), Yiang-ping zhi ( The Diocese of Yangping, 陽平治). Both scriptural analysis and thematic comparative analysis are applied as the method of the research. The findings are as followed. In the scriptures, ideas of the ‘divine election’ are expressed with different distinguishing features: in the Didache, they are:’ keeping commandments for ensuring the chosen identity,’ ‘the leap-of-faith of the Jewish Christians;’ in 1 Clement they are: ‘righteousness vs. wickedness as the boundary of the election,’ ‘mysterious number of the elected,’ and ‘ecclesia: a collective idea of the divine election;’ in the Epistles of Ignatius of Antioch, they are: ‘persecution as a sign of the divine election,’ ‘Christian as a fruit of God’s Love,’ and ‘Christ, the door of the Father.’ In the Xiang’er Zhu, they are: ‘Dao, the supreme God, who’s will is to create and to save,’ ‘the elected people and the false skills,’ and ‘compliance to Dao’s precepts is to keep the Covenant;’ in the Jialing Jie and Yiang-ping zhi, they are: ‘ “Zhengyi mengwei zhi dao(正一盟威之道)” is the Covenant,’ ‘Zhong-min(種民), a Daoist expression of “the elected people”,’ and ‘zhong-min, a dignified and extraordinary identity and status unrelated to sexual rites.’ In the thematic analysis: 1. Covenant and the Election: (1) covenant as a union of wills of God and of man; highly emphasizes on whole-heartedness and sincerity; covenant as a divine blessing as well as an expression of the both sides’ willingness of being constrained. 2. Sin and the Election: (1) although clear inheritance of Israel’s faith tradition can be found in the Apostolic Fathers’ writings, 1 Clement and Epistles of Ignatius highly emphasis on the Blood of Christ and Jesus’ New Covenant. Whereas zhong-mins are the divine elected in the sinful world; though they are extremely rare, the Dao does not give up searching them for the purpose of saving the world out of the depths. 3. The Blessed Seeds: Christians’ ‘the elected people’ densely connotes ‘the seed people;’ both ‘zhong-min’ and ‘the elected’ connote ‘the blessed seed in the sinful world.’ Zhong-mins not only can survive eschatological catastrophe, but also function as the ones inducing Tai-pin Chi (太平氣) in the post-catastrophe world. They are the ones through which the Dao bestow the divine blessings upon the world.