本研究提出「紐約當代藝術家經營模式」的研究架構，其後進行個案研究，觀察蔡國強與村上隆兩位國際級的當代藝術家的創作內涵與經營事蹟，使讀者與後續研究者能夠有系統地解讀其藝術事業的具體結構。 / This study first proposes the research framework of " Business Model of New York contemporary artists ", then does a case study on two world-class contemporary artists, Cai Guo Qiang and Takashi Murakami, and observe their creation and business in order that the readers and future researchers can interpret the concrete structure of their artistic business in a systematic manner.

自1980年代以來席捲至今的全球新公共管理式行政改革，可說是與國際政治哲學與意識形態的辯證發展同步，即「新右派」政治哲學，透過政黨因素（如政黨輪替與政黨定位），對各國政策議程產生影響，連帶影響各國行政改革政策。 　　本文的研究目的，即在於闡述所謂「新右派」的政治哲學概念，以及其與1980年代以來的新公共管理（如精簡組織及員額、民營化、執行機構、契約管理等等）之間內在聯繫。事實上，新右派似可含括古典自由主義及新保守主義的重大政經主張，核心關懷在於「消極自由」（不同於1945年以後國家干預下的較為「積極」的自由），希望減少政府干預，讓個人依自我判斷，利用市場及與社會機制，追尋個人幸福。 　　其次，歐陸國家同時開展出「行政現代化」改革模式，這種改革模式除了有「新右派」價值意識外，並堅持各國原有的社會民主體制特性，如國家干預、對公務員特殊的保障、對公共利益之期許等。歐陸政府運作模式其實高度反應社會主義或社會民主主義的意識形態價值，如有機社群、社會連帶關係、平等、產業民主等，並可能與當今「第三條路」或「新中間路線」政策路線有關。 　　復次，秉持公共性主張的「新公共行政」，則對新公共管理提出高度的質疑。新公共行政可稱係融合三個哲學基礎，包括新自由主義（以羅爾斯的正義論為代表）、社群主義、以及法蘭克福學派。一方面，新公共行政以其自由主義與社群主義特性，而做與新公共管理有著「表親關係」，也與歐陸行政在某些地方相近，即對積極自由及集體主義有較高程度的偏好；但另方面，新公共行政秉持社群論點，對新公共管理的個人主義基礎提出強烈批評，而新公共行政似偏重「社會社群」而非「國家共同體」、追求較高度的機會均等而非結果平等，其實與歐陸行政頗不相同。 　　最後，若我們把公共行政的分析視野，加入國際觀以及史觀，將可以對行政運作以及改革理念了然於胸。因為，公共行政經常與政治哲學的演變及意識型態的發展有著同步的脈動，而中介因素經常是政黨對於經濟管理及社會平等的特定傾向。 　　當我們討論過政治哲學對公共行政的影響後，接下來檢視我國行政體制經驗。我國自民國87年初開始，推動「政府再造綱領」，從綱領目標及內容來看，諸如企業精神政府、精簡組織及員額、民營化、契約管理等，堪稱能與國外改革潮流同步，但政治哲學因素是否透過政黨因素發生影響力？ 　　依據我們檢視文獻資料，並訪談部分中高層實務界人士後發現，我國行政部門推動改革時，純係基於實務需要而仿效他國改革經驗，並末考量過意識形態的因素。再者，國民黨政府時期可稱為「企業精神政府改革類型」，民進黨政府可稱為「混合型」，包括「企業精神政府」次型及「社群主義」次型，這些都可以在陳水扁總統競選時的文宣、「520就職演說」，以及民進黨政府的行政改革政策中發現。前者尤以陳總統所說政府的四大管理類型（目標管理、成長管理、走動管理、危機管理）為代表；後者尤以「全國行政革新會議」之行政價值文化再造為代表。 　　如前所述，行政改革政策作為總體政策一環，應考慮總體政策定位因素。國民黨在創黨初期，有很濃厚的左派社會主義色彩，表現在如國營企業、土地漲價歸公、平均地權、節制資本等主張，但在遷台以後，國民黨逐步調整政策定位，呈現中間偏右威權保守的特色，但仍維持左派高度經濟管制的政策工具。 　　民進黨方面，在黨綱屬性上明顯有著社會民主主義特色，但內部的派系則分為兩派，其一為陳水扁總統等人為代表的自由主義派，崇奉自由化及市場化，主張縮小政府職能，尊重市場及民間社會機制；另一派為以新潮流系為代表的環保社會民主派，主張維持政府干預，促進社會平等。依據國外經驗，這兩派因信奉的政治哲學歧異頗大，很難共存於同一政黨之內，這或許是當前民進黨政府政策搖擺不定的因素之一。

中國為控制龐大的人口，自1979年開始實施計劃生育政策，一轉眼已經過了30年，一群1980年前後出生的獨生子女紛紛邁入婚姻、走入家庭，形成了獨生子女相互婚配的「獨生父母」，也同時造就了有別於傳統中國「發散型」家庭結構的「四二一家庭」。 本研究以此為出發，探究「四二一家庭」結構中的新型家庭關係，並挑戰結構功能論大師帕森斯關於現代化家庭之理論。本文認為，由於夫妻雙方皆為獨生子女，父母要協助子女分擔家務不再分身乏術，三代同堂的擴大家庭將成為中國城市的主要家庭模式，並非現代化理論所認為的核心家庭為主；而在四二一家庭中，親子關係也將居於核心地位，有別於帕森斯所認為的以夫妻軸為主。 筆者於2010年5月親赴北京對10位「獨生父母」進行訪談，深入了解獨生子女從擇偶、新婚、一直到四二一家庭成形所遇到的種種情況，包括夫妻家務分工上的不適應、為人父母後的角色轉換，以及在四二一家庭中獨一無二的天倫樂。 本文最後依據中國2010年第六次人口普查結果及獨生父母的訪談內容，結合各方專家意見，對計劃生育政策做出利弊分析，並探究生父母們在邁入家庭、準備「哺乳」的過程中，對父母的依賴，究竟「斷乳」了沒。 / Abstract In order to control the colossal population in China, the Chinese Communist Party have been implementing the birth control policy since 1979.Thirty years on, more and more children born under the one-child policy have arrived at nubile age. Marriage of only sons and only daughters compose the dual-core family which is different from the traditional Chinese family structure. This text focuses on the dual-core family, to explore the new family relationships and to challenge the Modernized theory of family proposed by T. Parsons. The text is of the opinion that the extended family model with three generations will become the main family structure in urban China as opposed to the nuclear family described in the Modernized theory; the focus of the family will be on the parent-child relationship rather than the conjugal relationship Parsons suggested. The author visited Beijing in May 2010 for interviews with ten “only-child parents”, This granted deeper understanding of the range of circumstances encountered during the process of partner selection, marriage and family formation by adult only-children. These include maladaptation in housework allocation, the role switch after becoming parents and the familial relationships and happiness unique to the extended family structure. In summation, the text combined findings from the sixth Chinese national census 2010, the conducted interviews and the opinions of various specialists and scholars to comment on the pros and cons of the birth control policy and to assess the level of parental dependence of adult only-children in China and their readiness for parenthood.

本研究以林懷民先生所創立之雲門舞集為例，探討台灣表演藝術團體以非營利組織型態經營發展之進程。研究問題有三： 一. 為什麼表演藝術團體要以非營利組織的型態來經營？他們真的很難盈利嗎？ 二. 非營利組織型態經營的表演藝術團體，應該如何評估其工作績效？ 三. 表演藝術團體以非營利組織型態經營時，如何邁向永續？ 林懷民先生被柏林晨報譽為「亞洲最重要的編舞家」，他於1973年創立雲門舞集，是目前台灣擁有最多專業舞者的舞團。雲門舞者的訓練包括現代舞、芭蕾、京劇動作、太極導引、靜坐與內家拳，完整專業的訓練使雲門舞集行走國際，累積許多經典舞作。 雲門舞集在1988年成立雲門舞集文教基金會，1998年創立雲門舞蹈教室，1999年成立子團「雲門2」，深入台灣各地校園和社區。2008年，雲門八里排練場大火，這個空間曾是數齣經典舞作的孕育誕生之地，大火毀了歷年的音樂資料，早年使用的道具、服裝和多媒體幻燈片。 本研究在組織構形的相關文獻上主要參考李仁芳教授所著之《管理心靈》(1980)，引申出雲門舞集在開創期、暫停期、成長期與成熟期等四期進程中所發生的組織構形。在組織成長的學理引用上，主要參考學者Larry E. Greiner 1998年在《Harvard Business Review》發表的〈Evolution and Revolution as Organizations Grow〉。 2009年4月，雲門舞集與台北縣(今新北市)政府舉行「徵求民間參與興建營運淡水文化藝術教育中心案」簽約儀式。「淡水文化藝術教育中心」是雲門依促參法規向台北縣政府提案申請興建的，佔地約1.5公頃，林懷民希望雲門從2013年開始有一個固定的家。本研究完成時，園區即將開工，人間事，塞翁馬？期盼未來更多學者持續觀察雲門的發展，因為台灣需要一個這樣的文化團體給人信心。 / This thesis takes Cloud Gate Dance Theatre of Taiwan as the primal case study that with document analysis, participant observation, and in-depth interview as the research methods to have better understanding of performing arts foundation when they might face in the institutionalized process. The overall objective of this study is： 1. Why, as the most prestige, renowned Performing Arts Company in Taiwan, Cloud Gate has to running with the pattern of nonprofit organization? Is it really difficult for Performing Arts Company to make profits? 2. How to assess and evaluate their working performance if Performing Arts Company is in nonprofit organization pattern? 3. While Performing Arts Company managing with the nonprofit organization mode and mind set, how to maintain their sustainability? Cloud Gate Dance Theatre of Taiwan was founded in 1973 as the first professional contemporary dance company in any Chinese speaking community. Directed by internationally renowned choreographer Lin Hwai-min, Cloud Gate transforms ancient aesthetics into thrilling modern celebrations of motion. The 25 dancers of the company receive trainings from the West and the East, including Chi Kung, meditation, internal martial arts, modern dance, ballet, and calligraphy as well. This research mainly consults 《The Managerial Mind》 (1980) written by Jen-Fang Lee Ph.D. and also thesis〈Evolution and Revolution as Organizations Grow〉 (1998) which was issued in 《Harvard Business Review》 written by Professor Larry E. Greiner. Evolve into Cloud Gate Dance Theatre of Taiwan, researcher define its history from creative stage, transition stage, growth stage to mature period organization phase taken place among the four processes. Without any similar comparison, Cloud Gate might be stands as a unique operational case; however, I hoped through the special operation analysis, It will sum up the general mode of contemporary dance company towards nonprofit foundation, which will benefit others for its practice managerial experience.

本論文說明儂希對現代主體形上學的解構，並將之區分為「現代主體的發展與闡述」、「解構的起始-根源條件」、「主體以及共同體的解構」三個主題。在「現代主體的發展與闡述」中，本論文澄清儂希對現代主體的理解：儂希闡述了主體的自我完成，並進一步說明主體觀念在政治上的貫徹執行。儂希根據共同體的自我實現來解釋集權主義，以及它在20世紀造成的歷史與社會災難。在「解構的起始-根源條件」中，本論文澄清儂希對解構思想的探討。儂希探索了存有的離棄狀態，詳述了存有的有限性與延異。儂希以存有的意義來取代存有的真理，並以存有意義來作為解構的根源。實存與世界奠立在存有意義之中，後者將實存向外暴露以及敞開了世界的開放性。在「主體以及共同體的解構」中，本論文澄清儂希的解構策略與運作。儂希將書寫與自我完成對立起來，藉由書寫來干擾主體的自我完成。書寫產生了無作品性，並以無作品性敞開了主體。書寫重複了意義，它讓意義重新開始，並發生成為意義事件。儂希強調共在的重要性，共在分享了存有的虛無，它不是作品，它抵抗著共同體的自我實現。共在聚集著無本質的所有實存，它暴露出每個實存的它者性，並構成了它者的共同體。 / This dissertation discusses Nancy’s deconstruction of modern metaphysics of subject and divides into three themes which are “development and elaboration of modern subject”, “archi-originary condition of deconstruction” and “deconstruction of subject and community”. In “development and elaboration of modern subject”, dissertation clarifies Nancy’s understanding of modern subject: Nancy explicates the self-completion of subject and the political effectuation of the idea of subject. Based on the self-fulfillment of community, Nancy explains totalitarianism that caused historical and social disaster in the 20th century. In “archi-originary condition of deconstruction”, dissertation clarifies Nancy’s discussion of deconstructive thought. Nancy explores the abandonment of Being and illustrates the finitude and différance of Being. Nancy replaces the truth of Being with the sense of Being and designates the sense of Being as the origin of deconstruction. Existence and world grounded in the sense of Being which exposes existence outside and spaces the openness of world. In “deconstruction of subject and community”, dissertation clarifies Nancy’s strategy and operation of deconstruction. Nancy opposes writing to self-completion and interrupts the self-completion of subject through writing. Writing produces the worklessness that spaces the subject. Writing repeats sense, begins sense anew and happens as the event of sense. Nancy emphasizes the importance of being-with that shares the nothing of Being. Being-with is not a work and resists the self-fulfillment of community. Being-with gathers all existences that are without essence, exposes the otherness of every existence and constitutes the community of others.

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

摘 要 根據鍾理和寫給文友廖清秀的信函中，指出他約在一九三○年左右，接觸了大量的中國新文學作家的作品，引起他強烈的閱讀興趣，甚至到了廢寢忘食的地步，而其中影響最大且最深的要算是魯迅，因為不論在他的日記或與文友的通信中，最常提及的中國作家就是魯迅。 魯迅是中國新文學運動中最重要的作家，他在文學上的成就，不僅在中國，甚至對鄰近的日本、韓國、新加坡等都產生了深遠的影響，他不僅是中國文學上的巨人，也是躋身世界文學之林的大文豪，日據時期的台灣文壇就是站在世界文學的角度上，開始閱讀並接受魯迅，鍾理和也就是在這樣的文學背景下接觸魯迅。因此，我們在看待魯迅對鍾理和的影響之時，並不把他當作是個獨特現象，而是把他放置在「台灣魯迅學」的範疇中，視為魯迅在台灣傳播的眾多面向之一。所以，本論文首先簡單探討魯迅文學在台灣的傳播情形，再透過對兩人文本的細讀與比較，尋繹魯迅對鍾理和文學的影響。 要進行不同作家文學的傳承或影響的研究，並不能只強調兩者的接觸關係，還必須在諸如主題、表現方式、文字技巧、創作風格等等的層面上進行考察，才能得到較為完整、正確的結果。因此，我們嘗試在鍾理和的作品中，尋找若干對魯迅文學的繼承或轉化的情形，尤其在顯而易見的國民性批判議題與寫實精神的發揚上，除了探討文字上所具體呈現的影響外，也注意在精神或思想上的可能關連。透過這些全面而深入的討論，我們看到鍾理和之所以接受魯迅文學，無疑地主要是著眼在「現代性」這部分上。同樣源自對傳統封建思想的不滿，企求對所處社會進行改革，在國民性的議題上，在對鄉土的寫實與批判上，無一不是站在「現代性」的立場，吸收、學習魯迅相關的文學與思想，但鍾理和的文學並不完全等於魯迅，他一直有著自我獨特的風格，始終立足於台灣的觀點，恰如其份地展現他的主體性。 此外，我們也明確的看到鍾理和是在文學上認識、接受並詮釋魯迅的，有別於被中共神化或國民黨貶抑的扭曲形象，在這裡我們重新看到魯迅作為文學家的真實形象。而鍾理和借鑑魯迅文學的事實，也說明魯迅或中國文學確曾對台灣文學的發展產生作用，並客觀證成台灣文學開放性的特色。 / Abstract Zhong Li-he pointed out in his correspondence with his literary friend Liao Qing-xiu that sometime around 1930 he began to be in touch with a lot of literary works written by Chinese new-vernacular literary writers, which aroused his intense reading interest to the extent that he couldn’t eat and sleep without finishing reading them. Lu Xun was the Chinese writer who had the greatest influence on Zhong Li-he because his name was most often mentioned in either his diaries or his correspondence with his literary friends. Lu Xun, whose achievement in literature exerted profound influence not only in China but also on neighboring countries such as Japan, South Korea, and Singapore, was the most important writer in the Chinese new-vernacular literature movement. Not only was he a literary giant in Chinese literature, but he was also an eminent writer in world literature. In fact, the literary arena of Taiwan under Japanese colonial rule started to read and accept the works of Lu Xun from the perspective of World literature, and it was against this literary background that Zhong Li-he began his contact with the literary works of Lu Xun. Therefore, we do not treat Lu Xun’s influence on Zhong Li-he as a unique phenomenon; in contrast, we place it in the field of “Lu Xun Studies in Taiwan,” and regard it as one of the many facets of how the literary works of Lu Xun were disseminated in Taiwan. Therefore, this dissertation first discusses how Lu Xun literature was disseminated in Taiwan. It then inquires into the influence Lu Xun exerted on Zhong Li-he literature by comparing their literary texts. When carrying out a research into the inheritance or influence of the literary works of different writers, we cannot emphasize simply on the way they contact with one another; on the contrary, we must also examine other facets such as the literary subjects, the ways they are expressed, the writing skills, the creative writing styles etc. so as to arrive at a more complete and correct conclusion. Therefore, we attempt to find out how Lu Xun literature was inherited or transformed through the reading of Zhong Li-he’s literary works. For instance, when dealing with the issues of national characteristic criticism and the promotion of realistic writing, we not only discuss the influence they embodied in written language, but also take notice of the possible correlation between them in terms of spirits or thoughts. By means of comprehensive and thorough discussion, we find out that Zhong Li-he’s acceptance of Lu Xun literature was undoubtedly because of his focus on the aspect of “modernity”. Similarly, on the issue of national characteristic and on the realism and criticism of “hometown”, Zhong Li-he’s position was anchored in “modernity”, expressing his discontentment with traditional feudalistic thinking and his great eagerness for social reforms. Even though Zhong Li-he learned and soaked up Lu Xun-related literature and thoughts, Zhong Li-he literature is not equivalent to Lu Xun literature because Zhong always had his own unique style. He grounded his position from the perspective of Taiwan, which reflected his subjectivity. Finally, we clearly find out that Zhong Li-he came to know, accept and interpret Lu Xun literarily, which is different from the distorted image conjured up by the Chinese Communist Party’s deification or Kuomintang’s disparagement of him. It is in this context that we see the real image of Lu Xun as a literary man. On the other hand, the fact that Zhong Li-he drew lessons from Lu Xun literature explained that Lu Xun or the Chinese literature did exercise influence on the development of the literature of Taiwan, which objectively testified to the fact that openness was a characteristic of the literature of Taiwan.

滿清末年以來，中國文官節制武官的傳統受到嚴重破壞，地方團練取代政府軍，地方軍隊演變成軍閥主義，國家領導人都是由戰場上勝利的軍人擔任。江澤民時期開始，中共實施世代交替，黨、政、軍高層領導人，轉移給一批技術官僚與軍事專業人員手上，此期間中共黨、政、軍互動關係為本文研究之目的。透過歷史比較，江澤民，是一個幾乎與解放軍毫無淵源的文官，沒有任何服役與作戰的經驗，卻能順利掌握軍隊與國家，本研究證明在中國中斷數百年來「文官統制武官」的歷史傳統，已經恢復。此外，近二十年來，中共軍事現代化成就確實令人刮目相看，與江澤民的外語專長及電機專長有密切關係，這些人格特質也是他令軍隊信服的重要工具。軍政軍民關係上，江澤民堅持民主集中制，排除多黨制，造成軍隊遠離政治紛擾，並與黨充分合作，以獲致預算並做好軍民與軍政關係。在解放軍內部，推動軍事教育的改革，也造就解放軍戰略思維的重大轉變，形成解放軍現代化的動力之ㄧ。然而，敏感性的軍文關係議題，例如一黨領軍，中共有禁忌而且沒有試驗場，台灣的寶貴經驗，很值得大陸參考。 關鍵字：中國共產黨、軍隊現代化、解放軍、文人統制、軍事專業主義 / During the decline of Chin Dynasty, as an unintended result to rely upon localized National Guard defeating upraise event, the Chinese traditional Civilian Control system was replaced by warlord system. Since then, the war hero was the one who advanced to political leadership. Until Jiang Zemin, a civilian with civil college certificate took leadership over the PLA, CCP, and PRC. The purpose of this paper is to exam the civil-military interaction during Jiang Zemin’s journey. Through historical comparison, this paper confirmed that the Chinese traditional Civil-Control system has been revived. Also, Jiang Zemin was the military leadership over PLA modernization. With personal attributes of profound languages and electronic profession, he shaped his position successfully in PLA community. This paper also recognized significant relationship between one-party theory and PLA, and the relationship between PLA　NDU and strategic thinking. Key Words: Chinese Communist Party, Military Modernization, People Liberation Army, Civil-Control and Military Professionalism.

保羅•奧斯特的〈紐約三部曲〉被歸類為「反偵探小說」（anti-detective novel）。在這三個故事裡，因緣際會背負了偵探角色的主角們，試圖還原事件的真相，卻個個受挫，甚至迷失在糾纏的線索與沈重的身份認同的遊戲中。他們像是一腳踏進了令人暈眩的泥沼，非但沒法用理智脫困，還愈陷愈深，隨著迷宮裡的音樂瘋狂起舞。 鈴鈴鈴不時搖著鈴鼓迷惑他們的聲響來自一串一串的文字：當他們想藉語言探求「真實」時，才發現無論語言或是理智都從來不是靜止與透明的。此外，與偵探行為息息相關的「命名」（naming）問題，也是〈紐約三部曲〉中的一個焦點。主角們的名字彷彿細軟的藤蔓般糾結在一塊，命名的議題以有趣的方式被呈現在這部小說中。本篇論文還要探討這部小說如何處理讀者與作者的辯證關係，因為讀者一走進這本小說便參與了作者精心設計的巨大遊戲。 本篇論文將研討〈紐約三部曲〉反映的三個問題：再現的問題、命名的侷限性，以及讀者與作者耐人尋味的關係。再現的問題會放到德希達(Jacques Derrida)提出的「延異」（differance）觀念下解釋—事物的意義不可能立即被揭露，而是永遠處在一種「延異」的狀況下。小說中主角們對唯一真實的追尋因而不可能被應許，而是遭遇一而再、再而三的延遲。另一方面，〈紐約三部曲〉對命名的功能性有所保留。本論文將疊合本小說中對命名的質疑與波赫士短篇小說裡對命名的不信任，說明奧斯特對命名的解構。〈紐約三部曲〉對命名抱持矛盾的態度：命名既幫助人們架構他們的世界，卻又滑溜溜的歪曲了人們的自我認識，讓他們被自身的自主性的假象蒙蔽。此外，讀者和作者究竟是不是維繫著一種同盟關係呢？本論文試圖闡釋存在〈紐約三部曲〉中，他們之間相互依存、卻又競逐對文意的解釋權的關係。只不過，躲在文字的簾幕後偷看著的黑影，始終是作者的吧？！ 〈紐約三部曲〉訴說的是一個追尋的故事。這個歷程沒有終結、沒有絕對的答案，只有故事拖長了腳步的身影。這個反偵探故事否定了許多關於理智的邏輯，但是它為書寫開闢了另一種可能：書寫與閱讀可以是無限延長的生命肌理。文字從不直接給予人們他們孜孜尋找的解答，他們只告訴你你將在文字中漂流的命運。 / Labelled as an anti-detective novel, The New York Trilogy defies the traditional detective process and instead renders the experience for man to distill and to locate meaning as an agonizing one. The protagonists in The Trilogy undertake the roles of the detective, hoping to reveal a sole truth behind the entangled situation. Yet they are not only frustrated in disclosing meaning, but thrown into extreme bafflement. Their identities fall apart, wriggling in the maze built by spiral words, crossed names and the ongoing efforts to define the relations. The protagonists find everything they used to hold as truth shudder. Language no longer stands for a limpid means to represent the real but rather shakes their beliefs. When they try to name and to draw their realm of autonomy over the flowing phenomena, they find naming a problematic strategy to define the world. Furthermore, as detective-readers who attempt to decode the text, the protagonists are desperate to comprehend their relations with the “writer” of their books, as the reader does in reading The Trilogy. This thesis attempts to probe into three prominent issues raised in The New York Trilogy: dubious representation, problematic naming strategy, and the peculiar bond between the reader and the writer. The doubtful representation in the novel will be examined under what Derrida suggests in “Differance”: Meaning can never be fully present, but remains in a state of differance. The protagonists in the three stories cannot disclose an overriding truth, but float in such a wave of doubts, uncertainties, and changing phenomena of the world. Also, the problematic strategy of naming will be compared with Borges’suspicion towards naming. Under both cases, naming serves as an extreme yet slippery means for man to draw his territory. In addition, the relation between the reader and the writer in the novel is investigated. The detecting process in the novel embodies the pursuit of the reader out of the text. Thus reading and writing are delineated as an everlasting journey. When the detective and the criminal as well as the reader and the writer seem to be in contest for the power of explanation, the pairing relation actually forms a close tie: The detective cannot live without the criminal; the reader and the writer need the eyesight of each other to survive. The New York Trilogy is not a journey providing answers but a whirl to disrupt the truth. Declining any definite inspiration, it nevertheless obliquely affirms the value of reading and writing. After exhausting complexities of the cases, only the reader remains. And what is heard even after one closes the pages is the voice of the reader encircling within the space. And the voice keeps telling and telling until the story belongs to him. We as readers will keep narrating the story with our little voice.