紐約三部曲，顧名思義，是三個關於後現代資本首都，紐約，的故事。然而，作者並未著重描繪後現代城市，迥異於後資本觀點如：物化、戀物癖、時尚、為主的敘事，而著重於描述身處於後現代空間主體如何因應、如何遭遇挫折、心態如何變化的現代啟示錄。 空間形塑主體，主體也反之形塑空間。現代空間所帶來的整齊清潔的身份認同童話已然消失，代之而興的，是後現代破碎、曖昧、精神分裂、主體消失的超現實空間，在這個獨特的空間場域裡，本論文試圖分析紐約人在紐約此一獨特空間之作為：透過行走、書寫、命名、記憶、偵察、地圖認知等方式來定位/重新定位/喪失定位的過程。 悲劇在於，籠罩於後現代的的烏雲下，雖然現代主義式英雄早已是一條死路，但提不出任何新的突破之路的主角們，終究不由自主地，以舊式現代主義英雄式的方法去探究、去找尋，去試圖重整秩序，緊接著便是，在這做玻璃之城裡，去失望、去挫折，去瘋狂，去死亡。 / Space is an influential, even determining factor to establish concerning subjectivity, and vice versa. The modern space and its fairy tale-type ordered/reasoned/omniscient city dwellers and detectives have already proved to be just an illusion. The world is no longer a comprehensible and legible universe. The omnipotent position the humans believe they firmly stand is just an ideological illusion. What exists in New York now is a hyperspace with ambiguity, contingency, self-dislocation, schizophrenia, and pastiche. Even though Auster’s texts are frequently regarded as postmodern, the Postmodernity is delineated and constructed not upon the illustration/configuration of the late urban capitalism logic which Jameson sees as the dominant features, but upon the textual characteristics of meta-fictionality and the self–deconstruction. But the New York tragedy is, facing with the mental crisis of the new age, the protagonists, or the heroes, the representative of every city dwellers living in the “mutation of the built space,” can’t propose any efficient and effective resolutions. The modernist efforts are proved to be a failure along with the changing of the city. Even though we know the condition is different, we still can’t have a new way to overcome our incapability and incompetents. This failure leads to various crises of subjectivity, ending in disappointment, frustration, disappearance, madness and death. So, in this dissertation, I will attempt to analyze the behaviors of New Yorkers and the way they take actions: through the ways of writing, walking, naming and remembering, they endeavor to orient/reorient/disorient themselves in this particular the biggest late capitalism metropolis.

《無有鄉》(Neverwhere, 1997)原為BBC迷你影集，後經由作者尼爾‧蓋曼(Neil Gaiman)改寫成小說，書中主角理查‧馬修(Richard Mayhew)因拯救朵兒(Door)而被迫開始探索他前所未知、無從想像的倫敦空間，也就是倫敦下層(London Below)。此倫敦空間充滿暴力混亂，顛覆理查對原有倫敦的想像，也將他帶離熟悉的畛域，雖然倫敦下層的事物希奇古怪，卻又詭異的與倫敦上層互相指涉，也使理查此旅行充滿詭異怪誕(uncanny)。此論文意旨爬梳倫敦城市空間的複寫性和其造成的詭異、探討理查馬修漫遊者(flâneur)形象以及理查結尾做出的看似自由卻又充滿侷限逃逸線(line of flight)。 / In Neil Gaiman’s first novel Neverwhere, adapted from the original namesake BBC television serial, the protagonist Richard Mayhew is a forced traveler, exploring the territory of imaginary London Below, in which Richard fails to grasp the sense. The “London Below,” the buried and repressed past by the “London Above,” is full of chaos, violence. Observing the invisible cities of the multiple other which used to escape his unitary way of seeing, Richard’s vision of the familiar/homely city gets blurred, defiant. However, events in London Below always disturb but at the same time uncannily refer to those of the London Above, which makes his journey in London Below an uncanny one. This thesis is going to discuss palimpsestic London space and the role of Richard Mayhew as flâneur and Richard’s final decision as a line of flight.

在蓋曼（Neil Gaiman）第一部小說《無有鄉》（Neverwhere, 1997）裡，透過對地下倫敦的想像，挖掘蟄伏於城市之中的邪惡、混亂與時空的交錯。主人翁理查（Richard）地下倫敦之旅顛覆他對城市既有的認識，城市不是如表面所見的井然有序、善惡分明，而是過去與現在的混雜和交織，惡勢力隨時匍匐其中。本文擬以空間議題為經、城市居民主體為緯，探討蓋曼筆下的倫敦呈現何種後現代都市空間、城市空間和主體間的互動，以及游牧主體如何在他者空間中生成。 論文第二章主要藉助索雅（Edward W. Soja）第三空間（thirdspace）的概念，闡釋小說裡後現代倫敦空間。首先爬梳瑞本（Jonathan Raban）、列斐伏爾（Henri Lefebvre）, 和索雅三人對於後現代地理學的觀念，而後側重於索雅提出的第三空間。《無有鄉》裡，城市遠比理查所認為的還要複雜、失序，他漫遊於地上倫敦和地下倫敦之間，其所見景象呈現倫敦浮世繪，解構真實倫敦和想像倫敦間的界線，而此正體現索雅所謂的第三空間。 第三章以班雅明（Walter Benjamin）對漫遊者（flâneur）的討論為出發點，闡釋《無有鄉》裡漫遊者／偵探和城市空間的互動。身兼漫遊者和偵探的理查，由於處在混雜猶如迷宮的倫敦市景中，所以喪失經典漫遊者對城市全景的掌控。雖然《無有鄉》在情節的過程裡呈現後現代氛圍，企圖解構二元對立，但惡勢力最終的剷除，暗示地下倫敦又將回歸秩序，於焉似又陷入善惡二元對立的局面，但另一方面，女性在回歸秩序的過程裡，扮演舉足輕重的地位，女性的參與展現對空間父權化的抵制，而此也打破性別空間的二分法。 第四章著重討論小說的結局。筆者援引德勒茲（Gilles Deleuze）和瓜達里（Félix Guattari）游牧學（nomadology）的概念，闡釋主人翁主體的變異。在他者倫敦空間裡，主人翁和他者接觸而歷經生成他者（becoming-other），並開啟其逃逸路線（lines of flight），所以在回到原本的世界後，他又欲重返地下倫敦，擺盪於兩個世界，不囿於其中一方。 在《無有鄉》裡，兩個倫敦空間並非截然劃分，卻是相互滲透交織。想像的地下倫敦是一個暗喻，代表被城市邊緣化、他者化而忽略的空間，透過主人翁的漫遊，展現倫敦市景的多重面貌。 / Neil Gaiman’s first novel Neverwhere (1996) depicts an imaginary London Below which exposes the urban evil, chaos, and juxtaposition of diverse spaces. After his journey to London Below, the protagonist Richard changes his view of the city. That is, London is not of orderliness as it appears, but of the present interwoven with the past; it lacks a clear distinction between good and evil, and contains evil power embedded underneath. This thesis employs a spatial perspective as a thread to explore postmodern spatiality embodied in Gaiman’s London cityscape, the interaction between urban space and the subject, and the formation of nomadic subjectivity in the spaces of the other. In Chapter Two, I resort to Edward W. Soja’s conception of Thirdspace to deal with postmodern London spatiality in Neverwhere. I first introduce three spatial critics’ notion of postmodern geographies, including Jonathan Raban, Henri Lefebvre, and Soja whose Thirdspace serves as the main spatial framework of the thesis. Neverwhere delineates the urban landscape which is far more complex and disorderly than Richard assumes. He strolls between London Above and London Below, and his view of these two worlds which deconstructs the line between the real and the imagined presents Thirdspace in Soja’s term. Chapter Three utilizes Benjamin’s discussion of the flâneur as a starting point to deal with the interaction between the flâneur/detective and urban spatiality. As a flâneur/detective, Richard encounters labyrinthine cityscape, so he loses a classical flâneur’s/detective’s panoramic view of the city. Although Neverwhere as it progresses smacks greatly of postmodern aura by deconstructing dualisms, the collapse of evil power near the end of the novel suggests the retrieved order, so the novel seems to regress into dualisms. Simultaneously, in the process of regaining order, females play an important role, for females’ participation presents their resistance to patriarchal space and also subverts a gendered spatial dichotomy. Chapter Four focuses on the discussion of the ending of the novel. I apply Gilles Deleuze and Félix Guattari’s conception of nomadology to the protagonist’s nomadic subjectivity. I argue that the other London spatiality triggers the protagonist’s becoming-other via the contagion of the other and initiates his lines of flight. Because of this, after returning to his previous world, the protagonist seeks to leave for London Below. He keeps vacillating between the two worlds, for he refuses to be bound by either of them. In Neverwhere, the multifarious facets of London cartography are outlined through the protagonist’s strolling. The imagined London Below is a metaphor which represents marginalized, otherized and overlooked urban spatiality. The line between London Above and London Below is not completely clear-cut, but interwoven with each other.

網路購物是近幾年來新興的消費方式，它的快速、能動性、去地方╱地域性、無時間限制，讓購物活動變得輕鬆、便利。但也有另一派學者認為，當人人宣稱自己因為網路購物而能輕鬆、方便地找到想要的商品時，似乎也使得「shopping」變成一件平淡、毫無成就感可言、欠缺人味的活動，它不再是與工作分開的某一特殊事件，而是任何時候、隨時都可以發生的事。因此筆者試圖從另一角度出發，跳脫其「經濟」層面，提出「網路購物帶給我們什麼新的消費體驗？」這樣的疑問。 筆者認為，若將其詮釋為一種新的消費現象，甚至是創造出一種新消費文化，或許可更為深入地探究消費者在其中可能獲得的新的消費體驗與其意義。而從過往的研究可發現，消費者的「消費體驗」與「消費空間」有極密切的關係，因此本論文將從消費空間出發，意圖定義網路購物所形塑出的一種新式消費空間，藉此探討其可能帶來的新消費體驗。筆者從1822年在巴黎新興的一種消費空間──拱廊街談起，再到百貨公司、購物中心這類新式消費空間之間的轉變，從「漫遊者」的社會角色切入，試圖勾勒出不同消費空間所賦予消費漫遊者與商品及與人群間的不同關係的轉變脈絡，並與網路科技特性結合討論，以「消費者VS.商品」與「消費者VS.人群」兩個主軸，透過對網路消費者的深度訪談，探討現今網路消費空間中消費者所獲得的新消費體驗。 本研究發現，在新興網路消費空間中，商品照片改變了消費者與商品的關係，雖然網路消費漫遊者與傳統漫遊者一般，與商品的關係仍舊保持既涉入且抽離，但兩者的模式並不相同：網路消費漫遊者一方面因為照片裡的商品是由模特兒所穿戴，感覺與商品的距離較親近，較容易想像，但另一方面也因必須考慮再現物與真實的差距，讓網路消費漫遊者不只是對璀璨的商品展示感到目眩神迷，反而得以從成堆的商品符號中抽身，保持一些距離，做出理性的判斷。 不僅如此，網路既連結又隔離的特性，讓這群網路消費漫遊者得以快速地找到歸屬的部落，並在安心的居家空間中積極地社交、與人互動，卻也讓她們得以更快速地保持距離、回歸自我，尋找下一個離散的部落。這便是網路空間所提供的私人性與社交性的微妙比例，因而發展出新的網路購物體驗：網路消費漫遊者仍舊與人群保持既涉入又抽離的「陌生人」距離，唯一不同的是，她們的涉入包含了一些分享的成分。

本篇論文主要探討1880至1930年代英國女性作家所再現的性別化空間。女性逐漸在十九世紀末倫敦的公共空間嶄露頭角，扮演各種不同的重要角色，舉凡上班族、消費者、俱樂部會員、電影迷、行善者及觀光客等都是當時女性公共形象的最佳例證。然而這些跨越公/私領域界限的女性漫遊者迄今都未獲得學界足夠的重視。女性漫遊者在世紀末文學研究中長期遭受忽視主要肇因於早期學者對於十九世紀男主外、女主內的公/私領域劃分大致認同，未能加以批判。透過檢視艾蜜‧列薇 (Amy Levy)、桃樂斯‧理察森 (Dorothy Richardson) 以及維吉尼亞‧吳爾夫 (Virginia Woolf) 等三位女作家的跨文類書寫，本篇論文指出世紀末的中產階級女性已逐漸掙脫傳統私領域以及家庭意識形態的束縛，開始在城市空間行走與觀看。在十九世紀末許多新興的大城市例如倫敦，如此的女性公共行走則又更加顯著並且和日益蓬勃發展的商品文化、大眾消費/享樂以及公共空間皆有極密切的關聯。流動 (mobility) 與觀察 (spectatorship) 因此成為中產階級女性在城市空間行走與觀看時的重要經驗，前者來自於女性在日益開放的公共領域遂行的空間探索，後者則是來自女性觀察者對於城市景觀例如商品展示、來往的人潮以及繁忙的街景所做的視覺凝視。經由書寫世紀末的女性城市漫遊，上述三位女作家明確地指出這些表面看似被動的中產階級女性其實早已跨越傳統空間限制，不斷挪用與創造新的城市公共空間。 / This study has examined the numerous roles played by women entering the public spaces of London in the half century from the 1880s to the 1930s as workers, shoppers, diners, clubbers, cinema-goers, philanthropists, and tourists, a wide spectrum of active female social actors that until recently have not attracted enough attention from scholars of late-Victorian and Edwardian literature. The neglect of these newly pubic women in the fin de siècle period, who are distinct from their home-bound Victorian predecessors, is largely ascribed to an uncritical acceptance of or surrender to the long-held, dominant assumption of separate spheres in the nineteenth century. Through examining the writings of Amy Levy, Dorothy Richardson, and Virginia Woolf, who portray the multifarious pictures of women rambling the streets of modern London, this study has demonstrated that female public visibility and mobility have at least since the fin de siècle period been commonly practiced by a conglomerate of middle-class women. Mobility and spectatorship are thus two significant tropes applicable to women’s spatial and visual explorations of the fin de siècle city, the former underscoring their meandering footsteps threading through the increasingly egalitarian public space while the latter their roving eyes casting glances at those enticing urban spectacles which are already a phantasmagoria of commodity display, jostling crowd, and bustling streetscapes. Through writing about fin de siècle female streetwalking, the three women writers have demonstrated that those seemingly passive women of the middle-class may indeed be capable, through their public presence and their incessant footsteps, of pushing at the established boundaries.

當代英國小說家吉姆‧克雷斯 (Jim Crace) 在《阿卡迪亞》(Arcadia, 2008)這部城市小說中，以一位隱身人群的專欄作家為敘述者，從城市居民的心理為出發點描寫城市空間，並以傳統露天市場被改建為一現代化購物商場之事件為主軸，刻劃城市居民經歷生存空間遭強制改變的衝擊之後，仍然找到適應的方式和創造空間運用的可能性。本文主要採取甄克斯 (Chris Jenks) 對城市漫遊者 (flâneur) 的論述，以及情境主義的心理地圖 (psychogeography)、漂移 (dérive)、異軌 (détournement)、及景觀 (spectacle) 的理論概念，剖析克雷斯如何以都市漫遊文本，呈現人和空間的互動，凸顯城市居民和其生存空間實為一生生不息的有機體，並揭露都市空間規劃背後暗藏視覺操縱，藉以反對空間商品化和景觀化。論文第一章主要借助甄克斯的都市漫遊者論述以及情境主義的心理地圖和漂移理論，闡述小說敘述者打破心理和地理的界線，以不同的人物心理呈現一幅城市拼貼。第二章以異軌理論為出發點，闡釋此小說將阿卡迪亞的文學概念和都市公共空間議題並置，一方面解構溫室和商場中的鄉村實為自然的複製品，另一方面強調城市生命力在於多樣性以及居民與空間的互動。第三章援引情境主義的景觀概念，著重討論社會關係和城市的空間生產被資本主義塑造的景觀所滲透控制，並強調敘述者以漂移和異軌的空間實踐與其對抗之外，也刻劃了都市居民在景觀的控制之下，仍然找到新的出口，保有空間運用的自主性。 / Jim Crace’s novel Arcadia delineates a city from the perspective of human mentality by means of an incognito critical social observer. The displacement of a modernized shopping mall for a traditional open market is the most important incident that causes a great impact upon the urban people. In this thesis, I would like to use Chris Jenks’ analysis of the flâneur and situationist concepts of psychogeography, dérive, détournement, and the spectacle to analyze how Crace presents the interaction between man and space which is threatened by the visual manipulation hidden behind urban planning. He also points out that urban inhabitants and their living environment form an organic whole that will keep evolving through their mutual influence. Applying Jenks’ discussion on the flâneur and situationist concepts of psychogeography and dérive, I would first show that Crace breaks the boundary between psychology and geography to present a collage of different interpretations based upon several characters’ mentalities. Then, the construction of the new shopping mall named Arcadia brings up the juxtaposition of the topos Arcadia and the issue of urban public space. With the practice of détournement, the narrator deconstructs the countryside in the shopping mall as the duplication of nature and emphasizes that the life of the city does not reside in the spectacular sites but in diverse and mutual interactions between urban space and its inhabitants. With spatial practices of dérive and détournement, the narrator not only criticizes that both social relationship and urban space are saturated with separation caused by the spectacle, but also makes known that urban people still hold the autonomy of creating alternative spatial use even under the dominant representation of the spectacle in the city.

本文主要討論在日常生活中，以智慧型手機和社群網站Facebook打卡為主的媒體實踐所扮演的社交角色以及實踐者的空間經驗感受，試圖描繪科技帶來社交網絡的連結，並且透過現代科技漫遊者的實踐，混淆日常性和觀光凝視的界線。從媒體實踐取徑，觀察生活中各種實踐行動，試圖勾勒媒體實踐如何定錨社交關係，以及人為主體的媒介消費複雜性。 研究以民族誌法為研究方法，結合線上觀察、線下田野、深度訪談，研究三個身處不同社交圈位置的個案；研究者以參與觀察的方式進入研究對象的生活、工作、休閒場域，期以從實踐者的生活方式，理解日常生活中細瑣行動的動態關係。 研究發現，作為新科技的Facebook打卡和智慧型手機，身處社交圈不同位置的實踐者在近用之後能發展機會，包括鞏固意見領袖地位、晉升為領導者、創造與他人的連結；而Facebook的標籤功能、打卡時機的調整、省略打卡位置等實踐，成為實踐者挪用以建立社交關係。 實踐者是為現代的科技漫遊者，在漫遊城市時透過打卡找到新空間經驗感受，這些經驗包括：(1) 日常生活與觀光凝視的界線流動，實踐者凝視平凡的日常找到非比尋常，將之轉化為打卡題材；(2) 打卡實踐是實踐者既地方性又全球性的文本生產，讓地標賦予了既真實又虛擬的混合空間意涵，實踐者於其中觀展表演而自我揭露；(3) 打卡鞏固了觀光凝視的空間經驗，實踐者的空間感受並非固定，而可能既溫暖有情感又陳悶的儀式，打卡實踐添增了生活中面對鏡頭的觀光客姿態。實踐者面對科技物質特性、社會關係、監視構成的結構性限制，能找到方式因應，但其能施展的自由與機會也有局限性。 / The aim of the research investigates Facebook’s check-ins as a media practice that plays a crucial social role in everyday life. While walking in the city nowadays, a practitioner can convey his/her feelings, uploading stories and photos to social network websites through mobile technologies. A practitioner’s gaze upon spectacle of the city brings him/her complicated media experience in the media-drenched world, which turns a practitioner into a tourist and a flâneur. The study explores practitioners’ media consumption in everyday life. My empirical study focuses on three cases, who are heavy users of smart phones and in favor of check-ins on Facebook. The three cases situate in different social status and develope different social relationships through Facebook. By choosing ethnography as my method, I am a participant-as-observer who immerse in on-line and off-line field work. My findings indicate that smart phones and check-ins on Facebook provide opportunities and resources for practitioners. A keen adopter of technologies becomes an opinion leader, and her practice of check-ins brings her a fashionable image. The person who owns ordinary fellowship becomes an opinion leader in his peer group by acquiring technology skills. The practitioners use tagging and adjust the timing of check-ins to create social connection with friends. A practitioner, who is also a tourist and a flâneur, finds new feelings through mobile technologies when walking in the city. (1) The boundary between everyday life and tourism is not fixed, but weaves in a flow instead. (2) Geo-tagging symbolizes a hybrid space, in which contains virtual and physical information. (3) The practices of check-ins embody the tourist gaze. The sense of place is a flow, and practitioners may find warm or chill places through different media practices. However, the tension of interaction between people and technologies brings several unexpected troubles. The practitioner combats these problems by using tactics with agency, while he/she faces the power of structure which limits agency at the same time.