魯西迪的《魔鬼詩篇》深入探討後現代千變萬化的世界中，離散社群自我定位、痛苦折磨、適應及抗拒的生活經驗。不可思議的故事，訴說著蛻變、脫軌及位置錯亂。故事描述離散主體痛苦經歷的困境，包含惡劣的生活居住環境、對故國家園的懷舊、以及企圖歸化殖民母國的矛盾情結。除此之外，故事亦涉及離散主體如何挪用及顛覆帝國中心僵硬、死板、堅不可摧的傳統。以離散主體的身份認同作為論述的根本基石，本論文主要由三個方面探討《魔鬼詩篇》中的離散社群：〈一〉瞬息萬變、反覆無常的後現代世界中，離散主體的生活經驗。〈二〉不可避免的揉雜狀態。〈三〉離散社群挪用異質空間。 第二章分為兩個部份：後現代狀態及漂泊離散。此章旨在解釋後現代性宣示一無所適從、無所寄託的新時代來臨，其顯著特色為斷裂性、不穩定性、易變性。此外，此章亦探討離散主體的經驗以及其面臨的認同危機。第三章闡述揉雜狀態之不可避免以及其崩解西方權威的潛能。文化揉雜強調不同文化間存在著不可翻譯性，因此，文化揉雜超越僵硬、堅不可摧的二元性，突顯非此亦非彼的可能性。同樣地，跨界過程中產生的語言揉雜也是應強調的重點。第四章由兩個面向探討《魔鬼詩篇》中的空間概念：空間的異質性以及離散主體的空間挪用。空間的不確定及易變本質和離散主體的能動性相當有關，藉由祕密的計謀以及游擊戰式的攻擊，離散主體得以改變空間的形塑，找到自我的空間並創造獨特的空間故事。透過這三個面向，本論文揭櫫離散主體的能動性，其利用不穩定的狀態開創無盡的可能性。 / An astounding novel revolving around metamorphosis, aberration, and dislocation, The Satanic Verses goes deep into the diasporic experience of self-positioning, torment, adaptation, and resistance in a kaleidoscopic and contingent postmodern world. It sharply delineates the predicaments pungently experienced by diasporic subjects, including the adverse residential environment, diaspora’s nostalgic attempt to grasp the distant past of homeland, and the ambivalent yearning to transform themselves “from the sojourners to settlers” (Barker 204). Besides, the text deals with how diasporic subjects appropriate and subvert the established norms of the imperial center. In consequence, the complicated issue of the diasporic identity turns out to be the underlying cornerstone in this thesis. The major concern of this thesis is to explore the entire novel principally from three angles: the diasporic experience in a world of disintegration and mutability, hybridity as an inevitable phenomenon, and the diasporic appropriation of the heterogeneous space. Chapter II is divided into two parts: the postmodern and diaspora. This chapter aims not only to explain that transience and fragmentation—the salient features of postmodernity—usher in a new age without foundation but also to explore the diasporic experience and the identity crisis confronted by diasporic subjects in the postmodern era. In Chapter III, the ineluctable phenomenon of hybridity and its latent capability to dismantle the authority of the West are meticulously scrutinized. Underscoring the untranslatability among diverse cultures, cultural hybridity transcends the inflexibility, stubbornness, and impenetrability of an either-or situation and brings to light the possibilities of a neither-nor situation. By the same token, the power of linguistic hybridity—a phenomenon taking place in the process of trans-territorial crossing—is also highlighted in The Satanic Verses. In Chapter IV, the concept of space in The Satanic Verses is meticulously investigated from two aspects: the heterogeneous nature of space and spatial appropriation by diasporic subjects. The indeterminate, mutable, discontinuous, and heterogeneous nature of space is closely related to the agency of diasporic subjects. With underground tactics and guerilla attack, diasporic subjects are able to alter the configuration of space, to search out their own space, and to create their own spatial stories. By means of delving into these three aspects, this thesis explores the agency of diasporic subjects to take advantage of their unsteady position and to open up endless possibilities.

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.

近年來，有關文學和殖民宰制之間關係的研究一直是文學研究中重要的一個主題。在我論文的序章，阿圖塞有關意識形態的看法就被拿來詮釋這層共謀的關係。身為文學作品中一份子，蜜雪兒•克莉芙的作品《天堂無路可通》卻藉著呈現後殖民情境下的克蕾兒•薩維巨和她家人的故事試著去翻轉和顛覆主導的意識形態。我就針對變易位置、歷史書寫、身份認同三個糾結在整個故事中的重要主題加以討論。 我的論文的第二章是對後殖民漂泊離散的現象和與這現象相關的放逐和移民的概念加以詳細的說明。在這部分中，柯恩關於文化上飄泊離散的四個標準，用來衡量在《天堂無路可通》中薩維巨一家人的移民狀況是很有幫助的。此外，對於「家」這個概念的政治考量也納入這部分的討論中。克蕾兒遊蕩的旅程引導她去思索在她周圍所圍繞的一些問題：其中之一便是對於「歷史」可信度的疑惑，另一個則是對於自己身份認同探究。因此，在第三章中，我探討的是再現的機制和歷史書寫再現的是宰制意識形態。在《天堂無路可通》中，克蕾兒的個人記憶/個人歷史於是成為了對官方歷史可靠性詰問的對抗力量，也提供了另一版本的歷史。 交織在漂泊離散經驗和對歷史和記憶質疑之中的課題是關於身份的認同，特別是文化上的認同。在我的論文的第四章，我所討論的是身份認同形成的過程和文化認同的轉變。在這章中，首先，以「旅行」的概念來解釋克蕾兒的游牧式旅程。接下來，我陳述有關於本質主義者和非本質主義者個自對於身份認同的看法和他們之間對於這個議題的爭論。而他們之間對於身份認同的不同看法正好明白地昭示在霍爾對於文化身份認同的定義中。此外，巴霸創新的「第三空間」和「居中」的想法也納入這部分關於身份認同的討論中。如何去面對由於移民、放逐和飄泊離散所產生的文化認同危機，如何去調合和重建一個新的文化上的身份認同，和如何以這個新的身份認同去詮釋故事中克蕾兒的回歸牙買加是我最後一部分的討論。希望，經由我對《天堂無路可通》這本小說的研究，能提供一些對了解後殖民小說的見解，特別是本於/有關/來自加勒比海的小說。 / The discussion of the relationship between literature and the colonial manipulation has been an important theme in the study of literature in recent years. In the introduction of my thesis, Louis Althusser’s concept of ideology is utilized to interpret this complicity relationship. As a literary work, Michelle Cliff’s No Telephone to Heaven tries to reverse and subvert the dominant ideology by presenting the story of Clare Savage and her family under postcolonial condition. My discussions are aimed at three important themes, displacement, history, and identity, interwoven in the whole story. The second chapter of my thesis is the elucidation of the postcolonial phenomenon, the diaspora experiences, and the relative concepts of exile and migration. In this part, Robin Cohen’s four criteria of cultural diaspora are useful to assess the immigrant condition of the Savages in No Telephone to Heaven. Moreover, the politics of “home” is associated within this part of discussion. What Clare’s wandering journey leads her to is the contemplation of the questions arising around her: of these questions, one is the suspicion of the reliability of “history,” and another is the inquiry about her own identity/identities. So, in the third chapter, I discuss the regime of representation and the historiography as a kind of representation of the dominant ideology. The personal memory/history of Clare in No Telephone to Heaven, then, becomes a counter-force to interrogate the reliability of the official history, and provides another version of history. Interweaving with the diaspora experiences and the interrogation of history and memory is the topic about identities, particularly the cultural identity. In the fourth chapter of my thesis, I discuss the process of identity formation and the transformation of cultural identity. In this chapter, first, Clare’s nomadic journey is explained by the concept of “travel.” Then, I state the thoughts about identity between the essentialists and non-essentialists and the debates of identity between them. Such different views of identity are prominently demonstrated in Stuart Hall’s definition of cultural identity. Besides, Homi Bhabha’s innovative idea of “the third space” and the concept of “in-between” are included in this part of discussion about identity. How to face the crisis of cultural identity out of migration, exile, and diaspora, how to negotiate or reconstruct a new cultural identity under postcolonial condition, and how to interpret Clare’s return to Jamaica by virtue of this new identity, are the last parts of my discussion. I hope, through my reading of No Telephone to Heaven, I might provide some insights for understanding the postcolonial novels, especially the novels of/about/from the Caribbean area.

本論文主要是在探討薩曼、魯西迪在東，西小說中如何運用以第三空間為策略在二元對立的世界中找到出口。由於魯西迪漂泊離散的身分，他選擇將自己置於曖昧矛盾的第三空間中以避免被挾制於特定論述或意識形態中。因此魯西迪藉由能夠模糊政治、語言、以及文學方面界線的第三空間為策略，來顯示他如何以曖昧矛盾的處世態度在二元對立的世界中取得自身的主導權。 本論文將會分為三個部分(包括漂泊離散空間、語言第三空間、文學第三空間)來探討魯西迪如何在此小說中使用三種不同的第三空間，以達到抵抗文化身分、標準英語、以及文學經典等霸權。首先，論文第二章最主要在介紹漂泊離散的空間；在此空間中，漂泊離散者能夠依舊保有他們曖昧矛盾的獨立身分並免於被收編或同化於特定的身分中，並且藉此擁有能夠重新定義自己身份的權利與自由。第二，在第三章中魯西迪利用語言中第三空間的觀點來質疑傳統文化翻譯以及標準英語的純正性，為長久以來被曲解、壓抑的東方文化取得發聲的機會；讀者也可藉由文本中語言的挪用來了解認識異文化。最後，於第四章中，我將藉由巴赫汀所闡述存於小說中的新空間和後設小說的戲謔諧擬來分析魯西迪如何創造一個文學第三空間，揭櫫寫作人為的本質；並將社會時事與文學批判結合於小說文類中。總結來說，此三種不同的第三空間不僅反應出魯西迪拒絕選擇而將自身置於矛盾曖昧中的空間中，同時也為二元對立的世界中注入新動力。 / The aim of the thesis is to scrutinize how Salman Rushdie finds an outlet in the dichotomous world by means of the third space in East, West. Due to his diasporic identity, Rushdie decides to stay in an ambivalent space, avoiding being confined in specific ideology or discourse. As a result, using the strategy of the third space, which blurs political, linguistic, and literary boundaries, Rushdie shows how he earns agency in the dichotomous world. This thesis deals with three kinds of third space: diaspora space, linguistic space, and literary space. Each chapter unfolds how Rushdie uses the strategy of the third space to resist hegemonic discourse on human identity, the Standard English, and literary canons. Chapter II begins with an introduction of the diaspora space, by which diasporans are able to maintain their unique identities without being co-opted into a specific subject position. In Chapter III, both traditional cultural translation and the Standard English are questioned in terms of the linguistic third space. By means of the linguistic space, Rushdie challenges the monolithic cultural representation and pureness of the Standard English. The space also helps the distorted and misrecognized eastern culture articulate by appropriation of English. In Chapter IV, I will take metafictional parody and Bakhtin’s new zone of the novel to analyze how Rushdie creates a literary third space to lay bare the fabricated nature of writing and at the same time to combine social and literary critiques within the novel. To sum up, the three types of the third space in East, West not only reflect Rushdie’s refusal to taking sides but also bring dynamics to the dichotomous world.

本篇論文主要呈現非裔劇作家奧古斯特˙威爾森在《鋼琴課》劇中，如何藉由書寫黑人經驗來解構被白人扭曲的黑人歷史，從而建構真實的黑人歷史。威爾森在此劇中透過三個重要的議題：黑人的遷徙、奴隸制度、以及藍調，來探究舊有的和新開發的黑人認同。為了進一步說明劇作家在黑人主體上的看法，史都華˙霍爾（Stuart Hall）的後現代認同觀念便可作為此研究的大前提：主體並不是由個別的、單一的認同所組成，而是同時由數個認同所構成。理論部分，史都華˙霍爾對文化認同與漂泊離散（diaspora）的概念、保羅˙吉爾羅伊（Paul Gilroy）對漂泊離散、奴隸制度、與黑人音樂的闡述、米歇˙傅柯（Michel Foucault）的對抗記憶（counter-memory）與歷史的觀念以及法蘭茲˙法農（Frantz Fanon）的後殖民理論均被運用來閱讀《鋼琴課》這一劇。 本論文共分為五個章節。第一章提供劇作家、劇本、以及理論架構的一般介紹。第二章處理黑人漂泊離散認同（diasporic identity）的議題，而此認同展現於黑人的遷徙經驗上。劇中男主角威利男孩（Boy Willie）最後決定要返回南方的家，他的決心使他有別於待在北方的其他黑人。第三章透過審視鋼琴與鬼的意義與功用，著重在黑人種族認同（racial identity）的討論上。威利男孩與白人鬼的爭鬥突顯威爾森對黑人自主權的重視。第四章探索藍調跟文化認同（cultural identity）的關連性。劇中女主角柏妮斯（Berniece）藉由彈奏鋼琴來召喚祖靈，此不僅幫助她與過去作連結，並使她得到一個正面的自我確認形象。第五章是結論，總結威爾森在此劇中所展現的新的黑人認同。 / This thesis attempts to show how August Wilson deconstructs the white distortion of black history and constructs an authentic black history by writing about the black experience in The Piano Lesson. Wilson explores the old and the new black identities from three significant issues of migration, slavery, and the blues respectively in the play. In order to further explicate the playwright’s arguments on the black subject, Stuart Hall’s idea of postmodern identity serves as a major premise: the subject is composed not of a single, unitary, but of several identities at the same time. Stuart Hall’s idea about cultural identity and diaspora, Paul Gilroy’s elaboration on diaspora, slavery, and black music, Michel Foucault’s theory of counter-memory and the concept of history, and Frantz Fanon’s postcolonial argument are applied to the reading of The Piano Lesson. The thesis consists of five chapters. Chapter One provides a general introduction to the playwright, the play, and the theoretical framework. Chapter Two deals with the issue of black diasporic identity, which is demonstrated in black migration. Boy Willie’s final decision to return home in the South distinguishes him from those who stay in the North. Chapter Three centers on the discussion of black racial identity by scrutinizing the meaning and function of the piano and the ghosts. Boy Willie’s fighting with the white ghost foregrounds Wilson’s concern over black autonomy. Chapter Four explores the relationship between the blues and cultural identity. Berniece’s invocation to her ancestors through playing the piano helps her connect with the past and gain a positive image of self-recognition. Chapter Five is the conclusion which sums up the manifestation of Wilson’s construction of new black identities in the play.