諾貝爾文學獎得主奈波爾(V. S. Naipaul)可以說是當代文學中最具爭議性及最難以捉摸的一位作家，因為他對自己祖國千里達的前殖民國英國懷有一種好惡相參的矛盾態度。奈波爾的自傳性小說《抵達之謎》，故事橫跨三十年，描述一位曾被殖民的離散敘事者其人生旅程。旅程始自敘事者還是一個得到牛津大學獎學金的十八歲學生，終至敘事者成為在英國有立足之處的作家，其間歷經迷惘、錯置、覺醒、安頓等過程。在後殖民批評及文學的「信條」下，奈波爾的作品理應對大英帝國表示出一種明確的對抗態度，但其作品卻幾乎未能達到此一預期，而這也使得他必須承受遭指控為背叛者的衝擊。批評家普遍將奈波爾稱為英國的喉舌，而本論文旨在提供一個有別於此的觀點。本論文想要處理的關鍵問題如下：奈波爾是否真的是大英帝國的擁護者？如果不是的話，他如何與英國性(Englishness)協商以換取發言位置？ 論文首章對奈波爾及《抵達之謎》的批評做簡短的回顧。第二章以法農(Frantz Fanon)的觀點來檢視敘事者與白人女性角色的關係，以說明敘事者從崇拜英國文化到擺脫對英國謬誤幻想的發展。筆者也嘗試描繪出敘事者成為一個作家的軌跡。藉此，筆者認為敘事者經歷一段從目光狹隘的英國經典作家模仿者，到寫自己人生故事的作家的歷程。在第三章，本文認為在倫敦及英國鄉間的停留期間，敘事者看出帝國中心的破敗以及英國文化核心中英國性的矯揉造作。第四章首先就「離散」這個概念做一回顧，並說明奈波爾及《抵達之謎》如何能置於這樣的概念之下來解讀。筆者指出，敘事者同時身為離散者及流亡者的身份，使得他能夠取得一個「對位」的觀點，而此觀點幫助敘事者發展其後殖民牧歌，揭發英國性背後的殘酷。第五章揭示筆者對現存奈波爾批評中潛在缺陷的根本關懷。本論文希望藉由提供非主流但具建設性的觀點來補足現存的奈波爾批評。 / A Nobel laureate in literature, V. S. Naipaul is arguably the most controversial and elusive writer in contemporary literature because his signature is his ambivalence on England, a country which once colonized his mother country Trinidad. Spanning thirty years, The Enigma of Arrival, Naipaul’s autobiographical novel, delineates an ex-colonial and diasporic narrator’s life journey—from an eighteen-year-old schoolboy granted a scholarship to Oxford University to a writer gaining a foothold in England—of disorientation, dislocation, awakening and anchorage. Under the “doctrine” of postcolonial criticism and literature, Naipaul’s works are expected to express an explicit and confrontational attitude towards the British Empire, but his works hardly come to terms with such expectation, which makes him bear the brunt of the accusation of being an apostate. This thesis aims at providing a different viewpoint from criticism in general which labels Naipaul as the mouthpiece of England. The pivotal issues this thesis intends to tackle are as follows: Is Naipaul really an exponent of the British Empire to the core? If not, how does he negotiate with Englishness for a position of enunciation? The opening chapter offers a brief review of criticism about Naipaul and The Enigma of Arrival. In Chapter II, I examine the narrator’s relationship with white female characters in the light of Fanon’s perspective, trying to illustrate the progression in which the narrator at first worships the English culture but at last sheds his false fantasy. I also try to chart the trajectory of the narrator’s becoming a writer. By doing so, I intend to argue that the narrator undergoes a course from a blinkered colonial emulating English canonical writers to a writer writing his own life story. In Chapter III, I argue that during his stay in London and the English countryside, the narrator discerns the dilapidation of the imperial center and the artificiality of Englishness in the heart of English culture. Chapter IV begins with a review of the concept “diaspora” and how Naipaul and The Enigma of Arrival could be situated in this concept. I point out that the narrator’s identity as a diasporan and an exile enables him to obtain a “contrapuntal” perspective that contributes to the narrator’s postcolonial pastoral which exposes the cruelty behind Englishness. The concluding chapter reveals my ultimate concern about the latent flaw in the established Naipaul criticism, unfolding my intention to make this thesis complement the Naipaul criticism by contributing an alternative yet constructive perspective.

本研究利用電影院的殖民建築、設計以及週遭的城市歷史變遷過程，探討「上海電影院」的空間歷史與殖民性。 　　進入本文分析之前，先從文獻中了解「後殖民」意義與源起。建立基本認知後，一併對後殖民理論重要概念，「東方主義」、「戲擬」與「混雜性」加以耙疏，歸納整理出後殖民主義的批評觀點，以作為本文在探討上海殖民及後殖民現象在問題上提供反思與運用。緊接著透過對「全球化」理論的認知，勾勒出上海作為後殖民城市的全球及在地思考。同時，為了讓思考更為緊密，分別就「後殖民主義與全球化」、「後殖民主義與民族主義」、「後殖民主義與帝國主義」作一整組概念的理解，以作為本研究的理論與概念架構。 　　本文分析十九世紀末到二十世紀的上海電影院與城市之歷史系譜，檢視上海殖民租界時期的影院建築與城市。其次，在殖民之後，對中國社會主義主政下的上海影院與城市做一發展脈絡的理解。最後，基於對上海影院與城市歷史的認知，進一步探求當前全球化架構下，「西方」與「中國」對上海城市及影院所採取的觀看方式與干預形式，是否存在著（後）殖民文化意義的肇因轉變。 　　研究結果發現，進入九○年代後，上海存在著「向前看」與「向後看」的兩股想像力量，同時影響上海城市與影院發展：一股「向前看」的想像力量，是在全球化架構下，國家與跨國資本合力打造了一座座新式電影城的崛起，淘汰了老舊電影院的動力來源。同時，在上海城市空間的劇烈變動過程中，中國有意引渡香港作為「第三勢力」，以便在上海城市影城發展上與西方跨國資本勢力抗衡。另一股「向後看」的想像力量則存在於後殖民語境裡。中國政府投入大量資金進行影院改建工程，大面積的修改、摹仿了原初殖民影院建築，以展露出一個全新的歷史空間。在這種狀況下，當前標誌著殖民霸權的上海影院跟過去有了分別：現在的上海殖民影院是中國政府通過與資本共謀，戲擬式的營造出三○年代老上海電影宮的摩登形象，以投射出中國政府積極推動下新的混雜產物。這一切的改變，使得原初上海影院空間所夾雜的殖民符號在意義的閱讀與指涉上有了不同。新創建的殖民影院不僅成了上海城市產業上文化空間及休閒娛樂的消費賣點。同時在九○年代上海懷舊熱潮席捲影響下，也開啟了殖民影院被重新閱讀及詮釋的可能。本文以為，當西方帝國以戀物凝視姿態持續對上海殖民影院刻版印象作確認，以維持“殖民凝視（殖民規訓）”穩定的同時，也一併在國家意志與懷舊氣氛當中，經由各種懷舊媒材創作、重寫，賦予了過去特性新的內涵，虛構了新的歷史深度。 / The study aims to explore the spatial history and colonialism of cinema, process as cinema of architecture, design and urban evolvement in colonial Shanghai. Prior to embarking on the textual analysis, a concise literature review has been made to instill a rudimentary conception on the significance and origin of post-colonialism, which is then used to discern some of the crucial concepts of post-colonial theories: Orientals, mimicy, mestizo. Drawing from post-colonialism, these critical viewpoints are adopted to facilitate the attempt of this study and to examine the issues of colonial and post-colonial phenomena in Shanghai. What follows is, through globalization theories, to map out a global and local thinking on Shanghai as a post-colonial city. In order to conclude the theoretical examination and conceptual ascertaining, this study sorts out the serial subjects of “Colonialism vs. globalization”, “Post-colonialism vs. nationalism”, and “Post-colonialism vs. imperialism” as a comprehensive understanding. 　 This paper reviews the paradigmatic relation between the city and the colonial cinema of Shanghai from late 19th to 20th century. Then, after the colonization, a comprehensive discerning of Shanghai cinemas and the city as a whole under the control of Chinese socialism is examined. Lastly, based on the understanding of Shanghai cinema and the city history, a further attempt is to figure out if there’s catalytic change of significance of the Shanghai City and its cinemas on (post) colonial culture from the West’ and China’s viewpoint and intervention. The study findings reveal that in the 90’s, there are two imagined forces: “looking forward” and “looking backward” that exist in Shanghai and the two forces have influenced the development of Shanghai cinemas and the city. The “looking forward” imagined force had spurred the mushrooming of cinemas, which are advocated by cross-nationally joint venture under the framework of globalization, and that became the dynamic for eliminating the old cinemas. Meanwhile, with dramatic changes in Shanghai, the Chinese regime intends to bring in Hong Kong industry as a third counterforce to withstand the dynamic of Western multinational capital in Shanghai city’s cinema development. On the other hand, the “looking backward” imagined force can be seen in the post-colonial context of China. In order to demonstrate a new historical space, the government of China invested quite a lot to reconstruct cinemas via simulating but refining the original colonial architecture style. Thus, it can be distinguished form the present Shanghai cinemas to the past: the present colonial cinemas in Shanghai are the new mestizo by the efforts of China government, and they have built a modern mimicry of old Shanghai cinemas in the 1930s. The process of transferring has made a difference in the textual meaning from old Shanghai cinemas to the new ones. As the cultural and entertaining space in Shanghai, the newly constructed cinemas has not only become the popular area for consumption, but also turned on the possibility of re-read and re-interpretation under the trend of nostalgia. As a result, when the Western imperialism continues to acknowledge its stereotype and takes a materialistic stance toward Shanghai to maintain the stability of a colonial doctrine, those old features are new-minted different meanings by various kinds of nostalgic creature, so that a new historical depth is fabricated at the same time.

21世紀是中國的世紀。自1978年改革開放以來，以漸進式的經濟改革政策成功發展出「具有中國特色的市場經濟」型態，使得經濟成長迅速。在2010年時，中國已經領先日本躍升為僅次於美國的世界第二大經濟體，累積雄厚經濟實力的中國，綜合國力迅速從亞洲崛起。隨著經濟力量、綜合國力的提升，中國在國際的地位也水漲船高，影響力日益升高，因此，中國在對各國的經濟外交運作上更具有著力度。 中國對非洲的經濟外交已經長達半個多世紀，從改革開放前的經濟無償援助關係，到改革開放後的雙方合資合作關係，再發展到現階段互利的「新型戰略夥伴」關係，中國以本身的經濟發展進程對非洲展開階段不同的經濟外交內容。 進入21世紀，崛起的中國需要更多的原物料、能源來維持經濟成長，而天然資源豐富、石油天然氣能源相繼被發掘的非洲，正是中國所需，加深中非經濟關係為中國本世紀要務之一，「中非合作論壇〈Forum on China – Africa Cooperation—FOCAC〉」基於這種背景下應運而生，透過論壇對話平台，中非關係在政治、能源和經貿關係上快速發展。同時，中國也認真落實歷屆論壇中對非洲所宣布的各项援助措施，因此，中國在非洲的影響大幅增強，中非關係更趨緊密。 另一方面，由於全球能源稀缺，西方大國也急於涉足非洲，密切的中非關係引來「中國威脅論」及「新殖民主義」的負面評論。“新非洲爭奪戰”在遙遠的非洲悄然掀起，也間接對全球國際關係產生了影響。 / The 21st century is the century of the Chinese. Since the reform in 1978, the progressive economic reform policy has successfully facilitated the development of the “Market economy with Chinese characteristics” model, thereby allowing the economy to achieve rapid growth. In 2010, China became the world’s second largest economy, ahead of Japan and second only to the United States. Having accumulated solid economic strength, China has increased its national strength and has soared in Asia. With this new economic power, combined with the increase in national strength, China’s international influence soared and its influence continues to increase. Therefore, China’s economic diplomacy in different countries has become more intense. China’s economic diplomacy in Africa has been progressed for over half a century. From the Aid for Debt Relief before the reform and opening-up, the joint venture partnership after the reform and opening-up, to the current mutually-benefiting development of the “new strategic partnership” relationship, China has launched economic diplomacy, the content of which has been carried out in different stages in connection with China’s own economic development process. In the 21st century, China has been the rise and is in need of more raw materials and energy to sustain its economic growth while Africa with abundant natural resources and natural gas energy being discovered is exactly what China is after. One of China’s priorities in this century is to deepen its economic relations with Africa. This background has led to the establishment of a platform for open talks: Forum on China-Africa Cooperation-FOCAC has undergone political, energy, and economic and trade relations with rapid development. Meanwhile, China has earnestly implemented the various assistance measures for Africa in the previous FOCAC sessions. Thus, China’s influence has intensified and China-Africa relations have become closer. On the other hand, due to the global energy scarcity, countries in power in the west have anxiously set food in Africa. The close relationship between China and Africa has led to negative comments such as the “China Threat Theory” and “New-colonialism. The “new scramble for Africa” has been quietly set off in Africa with an indirect impact on international relations.