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.

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.