在一九七零年代，恐怖文本的盛行曾帶動了狼人小說在大眾文學市場的熱潮。在這股風潮裡，英國女性主義作家安潔拉‧卡特(Angela Carter)的狼人故事可說是同類型作品中的異數。卡特解構以及改寫童話故事，剖析其中關於道德與社會控制的隱喻，同時將狼人故事的元素與童話故事的意識型態結合，創作了四篇批判性強烈的短篇小說「狼人」、「與狼為伴」、「狼女愛麗斯」以及「彼得與狼」。 當時，隨著女性意識的抬頭，以及「狼」的妖魔化形象漸漸淡化，甚至被生態女性主義者(eco-feminist)與野獸女性主義者(beast-feminist)所推崇的情形下，狼人故事的主題也發生了變化。越來越多作品開始描寫女狼人如何奔向自由的懷抱，或是女狼人利用自身的能力對男性展開反擊。「女狼人」滿足了女性對於自然的渴望，也代表了力量。但是卡特卻反其道而行，她不但拒絕書寫女性狼人的主題，反而聚焦在被狼扶養的「狼孩」這種似人非人的議題上。她甚至在作品中暗示了，對女性來說，成為狼人是危險的一件事。 由於過去從未有人同時針對四部作品同時研究，本論文將嘗試以綜觀的角度，剖析為何卡特拒絕女性「成狼」，同時探究卡特筆下的狼人以及狼女的形象，究竟隱含什麼樣的意義。 本論文分為五個章節。第一章介紹卡特的作品風格，以及她為何選用「狼人」作為她解構童話故事的其中一個主題。第二章從卡特的作品著手，探討社會在型塑「狼人」時，大自然的意象是如何被扭曲，重組，變成安裝在異己上面的符號。這篇論文將會使用自創的名詞「象徵性狼體」來說明這個概念，同時瞭解卡特如何呈現這種困境。第三章將會轉而討論當代的女狼人小說以及生態女性主義是如何看待「狼」，而「象徵性狼體」又如何在此種文本裡死灰復燃。另外，本論文將會在第四章探討「狼女」的形象，同時借用德勒茲的「變向」(becoming)觀念，說明為何「狼女」是卡特心目中最理想的女性象徵。最後，第五章將會為前述論點做出總結，指出卡特拒絕女性「成狼」的可能理由。 / The fashion of horror genre in the 1970s has led a corresponding popularity of werewolf stories. During that time, the feminist writer Angela Carter’s werewolf stories gained attention. Carter’s werewolf stories rewrite traditional fairy tales and folklore. She deconstructs the fairy tale pattern, and the heroines have different roles, sometimes they are victims of werewolves, and sometimes they defeat werewolves bravely. However, the female werewolf is rare in her stories. Although in the 70s, modern female werewolf stories, beast-feminism and eco-feminism revalue the werewolf or wolf with positive meanings, Carter refuses to use female lycanthropy to represent the connection between women and Nature. The aim of this thesis is to find out the possible reasons for Carter’s rejection of female lycanthropy. Chapter one introduces Carter’s writing style, and the reason she chooses werewolves in her rewriting fairy tales. Chapter two examines the images of werewolf in Carter’s stories, and argues that the mechanism of ‘symbolic wolf body’ categories and twists nature, and how the society uses it to expel the outsiders. In chapter three, I would explain why the return of ‘symbolic wolf body’ makes modern female werewolf and eco-feminist narratives problematic. Then, by using Deleuze and Guattari’s ideas of “becoming-animal,” I would argue why the wolf-girl (human girls raised by wolves) in Carter’s story is the most ideal figure of femininity in the connection with nature. Finally, my thesis concludes that the exploitation of nature, the misuse of “symbolic animal body,” and eco-feminists’ unjustified perceptions with nature are possible reasons for Carter’s rejection of female werewolves.

本論文以「賽伯格閱讀」的方式在台灣當代小說中「讀取」三種賽伯格主體，並且展望賽伯格閱讀批判當代科技社會的可能性。賽伯格閱讀意指將文本中的人事物讀出賽伯格的意味。也就是說，賽伯格閱讀所分析的文本不必然、也不需要是容易讓人直接聯想到賽伯格理論的科幻文本，而能是更寬泛的、各種形式的文本──包括不是科幻小說的文本。重點不在於有沒有，而在於如何；不在於文本「本身」有沒有賽伯格主體的再現，而在於如何以賽伯格閱讀去讀取文本當中的賽伯格主體，並且探討該賽伯格主體如何構成，終而批判科技和特定權力位階的共謀。本論文盡量選擇科幻小說以外的文本作為分析對象，藉此挑戰「賽伯格理論通常連結到科幻文本」的刻板印象。此外，本論文也以「拼裝」這個詞彙思考混雜各種異質元素的賽伯格主體構成。本論文所提出的「義肢人」、「遊戲人」、「動物人」這三種賽伯格主體，是受哈洛威（Donna Haraway）的〈賽伯格宣言〉中「三種關鍵的界線破裂」之說所啟發。三種賽伯格主體各自對應、補充三種界線的不穩固──義肢人體現了「有機體和無機物的混淆」、遊戲人呼應「物質和非物質的曖昧不明」、動物人則為「人類和動物的難以區別」。本研究聚焦於1990年代以後的非科幻文本，並在分析其中賽伯格主體及處境時，納入身心障礙研究和生態女性主義的批判方法。本研究並非藉著後人類和賽伯格鼓吹單純地擁抱科技、宣稱人類已非人類，而是要藉著後人類和賽伯格來再次警惕科技的利弊、鼓勵各界在不同脈絡中「重新發明人類」──意即，重建一種更不具排斥性、更為寬廣的對於人的想像。 / The current study suggests that the reinvention of the human stands as a potential field for future Taiwanese literature. This thesis attempts to conceptualize the subjectivities of the posthuman even beyond the field of science fiction. This thesis labels the literary practices outside science fiction as “non-science fiction.” The focus lies on non-science fiction for two reasons. One, this study attempts to challenge the assumption in Taiwanese literature that associates the concept of the posthuman only with science fiction. Second, this study finds that the presupposed literary category of science fiction limits the imagination of cyborg- or posthuman-related subjects in Taiwanese literature. Inspired by the work of well-known cyborg theorist Donna Haraway, this study notes that non-science fiction texts present three kinds of posthuman existence. According to Haraway’s “Cyborg Manifesto,” “three crucial boundary breakdowns” make the cyborg possible. The three kinds of posthuman in this thesis correspond to Haraway’s three boundary breakdowns. The man of prosthesis corresponds to the blurred boundary between organism and non-organism, the man of video games to the physics and non-physics, and the man of animal to the humans and animals. This analysis focuses on Taiwanese non-science fiction texts from the 1990s onwards and applies concepts from disable studies and ecofeminist criticism, in addition to posthuman and cyborg theories. Situated within posthuman/cyborg studies, this thesis does not celebrate the breakdown of boundaries but points to the redefinition of the human which reduces and deconstructs hierarchal oppressions.