瑪格莉特•愛特伍《使女的故事》可視為是對童話故事的改寫，其採用了童話故事的結構及特色，並且印證了女性透過改寫可展現的顛覆力量。自從1970年代起，女性主義評論家對於傳統童話故事的批評主要可分為兩派，相對於早期評論家總是對童話故事中性別刻板印象的描述多所責難，後期的評論家漸漸傾向將童話故事視為是可提供重新詮釋或改寫的場域。對於小說作者愛特伍而言，童話故事中隱含了許多潛在的矛盾及反動的因素，而這些因素就構成了可供改寫並加以顛覆的空間。透過小說互涉的技巧，愛特伍不只是探究隱含在童話故事中的性別政治議題，同時也將其中的反動因子加以放大，並且加以改寫顛覆。 本文將探討《使女的故事》這本小說對於童話故事以及聖經的改寫以及顛覆。第一章介紹愛特伍、此小說及其與童話故事的關聯性。第二章著重在兩派理論家對於傳統童話故事的爭論（是與父權主義共謀抑或是可提供重新詮釋或改寫的場域），第三章則指出這本小說包含了哪些童話故事的特色，並且探究同時存在於基列政權與童話中的性別議題，也就是父權體制對女性的宰制與壓迫。而第四章分析愛特伍如何藉由突顯出隱含在童話故事中的反動因子，對童話故事以及聖經故事加以解構。最後一章以愛特伍對童話故事的修訂印證了女性重新詮釋或改寫所具有的顛覆力量。 / As a revision of the fairy tale, Margaret Atwood’s The Handmaid’s Tale not only reveals its adoption of the structure and components of fairy tales but also demonstrates the subversive potential for feminist revision of the fairy tale. While classical fairy tales have long rebuked by early feminist critics as conservative and as reinforcing the gender stereotypes, there has been a critical tendency since the 1970s that the genre of fairy tale can be seen as a site of contestation, which offers the opportunities of reinterpretation and revision. Acknowledging that the fairy tale cannot be interpreted one-dimensionally, Atwood unearthes the underlying disturbing elements within classical fairy tales, which constitute the space for feminist reappropriation and subversion. Through the techniques of metafictional writing, Atwood not only explores the sexual politics in fairy tales but also highlights the subversive elements, exaggerates them, and revises the tales. This thesis will discuss The Handmaid’s Tale in terms of its revision of fairy tales and the biblical texts. The first chapter introduces Atwood, the novel, and its relevance to the genre of fairy tale. The second chapter will provide a survey of critical depute on classical fairy tales, such as Perrault’s and the Grimms’, as colluding with patriarchy or as a site of contestation. Chapter Three will point out that this novel can be viewed as a modern fairy tale or a revision of fairy tale in terms of some fairy-tale characteristics and that it explores patriarchal domination and oppression of women not only present in Gilead but also inherent in the fairy tales. Chapter Four will analyze that Atwood explores a subtext that she has found in the tale and deconstructs the dominant discourse of the fairy tale and the Bible. The final chapter will conclude that Atwood’s revision of the fairy tales reveals the subversive potential of feminist reappropriation.

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.

當代童話故事《魔幻玩具舖》再現個體於成長過程中父權與社會機制所壓抑與消音，尤其強調於成長過程中的伊底帕斯情節期。當代童話作者呈現幻滅與殘缺的社會寫實，以提供讀者真實世界的不全以及社會的異化，藉此使讀者不安；透過詭異(the uncanny)的閱讀經驗，讀者認知於自己潛意識中的壓抑，以及社會機制的缺陷。在童話的結構中最重要的為奇幻之要素，奇幻重視顯露社會中的異化與顛覆理性的成規，其建築在現實即為取得讀者之信任，然而推展至非真的境地以混淆讀者對於現實的概念；透過傾覆讀者的認知，奇幻創造出在現實規則中的間隙(breach)以及破壞權威的法則；奇幻以及童話故事的努力皆於尋求到一個更美好的家庭遠景。 第一章介紹童話的文類架構以及與奇幻的緊密關聯。第二章著重於童話理論以及其架構呈現的欲望與空缺(lack)，讀者因認知到自我的伊底帕斯經驗與社會的異化而感到不安；奇幻要素則質問社會規則以及傾覆讀者對於社會秩序的概念。第三章為《魔幻玩具舖》的童話理論分析，以詭異的效果干擾讀者。第四章表明奇幻在《魔幻玩具舖》中的顛覆力量，模糊真與非真的界線以及在社會法規中創造出間隙開啟了被壓抑與壓迫發聲的可能性。最後一章以童話與奇幻要素顛覆父權社會機制作為總結。 / The modern fairy tale, The Magic Toyshop, copes with the issue of what is repressed and muffled under the social and patriarchal restraints through the growing process of a person, especially the oedipal stage. The modern fairy tale writer presents a disillusioned picture of reality, so as to provide the reader with the real conditions of deficiency and alienation in society and unsettle the reader. Through the reading process of the uncanny, the reader recognizes what has been repressed in his unconsciousness, and thus realizes the imperfectness of the society. In the structure of the fairy tale, the most important element is the fantastic which endeavors to reveal the reality of alienation and to subvert the rules of rationality. The fantastic is built on the real in order to gain the belief of the reader; however, it then develops to the realm of the unreal in order to blur the boundary between the real and the unreal. By upsetting the reader’s conception, the fantastic creates a breach in everyday reality and undermines authoritarian rules. The ultimate efforts of the fairy tale and the fantastic are made for the quest for a real homecoming. The first chapter introduces the genre of the fairy tale and its high relevance to the fantastic. The second chapter focuses on the theory of the fairy tale and its significance in revealing what is underneath the structure, desire and lack. The reader is unsettled by recognizing his / her own oedipal experience and the alienated reality. The element of the fantastic questions the everyday rules of the social order and disturbs the reader’s perception. The third chapter is the textual analysis of the fairy tale structure and its uncanny effect on the reader as reflected in Carter’s The Magic Toyshop. The fourth chapter is the analysis of the subversive function of the fantastic in Carter’s novel. The boundary-blurring and breach-making process opens a possibility for what is repressed and oppressed. The final chapter concludes that the fairy tale and the element of the fantastic subvert the authoritative society of patriarchy.