《吾兒故事》是葛蒂瑪第一本以非自人的敘事觀點寫成。她一 方面以有色人種的革命家庭為縮影，揭示南非種族隔離社會中，少數族裔的困境。另一方面，她質疑男性觀點下女性形象再現的偏頗，突顯非自人女性再殖民統治及父權宰制下的顛覆力量，並描繪跨種族之認同心理。藉此，葛蒂瑪呈現了多元文化中跨越界線的可能。葛蒂瑪超越了種族及性別觀點的限制，將她慣用的自女性觀點轉為非自人的男性觀點，以突顯非自人革命社群中的內部問題。正如她之前的小說，《吾兒故事》不僅呈現了南非的轉變和她自己寫作策略的改變，更標明了葛蒂瑪處理非自人議題時，跳脫自人觀點的新里程碑。 本論文的研究目的在於處理男性觀點下南非女性的再現，被殖民者的抗拒及顛覆和認同問題。論文主體分為三部份，第一部分旨在探討葛蒂瑪的新敘事策略和目的；第二部分旨在分析殖民與父權宰制下，受壓族群如何打破沉默，發聲抗拒；第三部份則旨在分析其尋求認同的過程及心理。 / My Son s Story is Nadine Gordimer's tenth novel but is her first novel narrated in the nonwhite perspective. Gordimer uses a colored revolutionary family as a microcosm in the apartheid society to unveil the dilemma and predicament of the in-between men and women in South African apartheid. In the colored male's narrative, Gordimer attempts to interrogate the partial and problematic representation of South African women, to highlight the oppression and subversion of the nonwhite women dominated by colonial and patriarchal authority and to scrutinizes the psychic desire of the interracial relationship between a colored man and a white feminist. In this novel, Gordimer presents a possibility of the boundary crossing in the multiracial and multicultural South Africa through the story of the colored family. My thesis aims to tackle the problems of the representation of South African women in masculine narrative, the subversion of the oppressed, and the identities of the in-between people. The main body of the thesis consists of three parts. First, I will explore Gordimer's new narrative strategies and objectives in the novel. Second, I will probe how these marginal and oppressed people break silence to articulate their resistance to the colonial and patriarchal domination in the apartheid society. Third, I will investigate the process of the quest for identities of the in-between people and their transgression. In My Son's Story, Gordimer keeps her concern about anti-apartheid revolution and about the oppression of the in-between groups and women oppression. She breaks through the racial and gender limits of perspectives and shifts her typical white female perspective to a nonwhite male to uncover the inner problems of the nonwhite revolutionary community through a colored family. Like her pervious novels. My Son's Story not only represents the transition of South Africa and her transformation in writing strategy but also marks her new start to look beyond her white perspective while dealing with the issue of the nonwhite in apartheid.

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.

雷蒙‧錢德勒為冷硬派偵探小說的開山始祖之一，其文學地位卻不限於通俗小說大家。 其簡潔有力的文學筆觸及對於現代美國社會的深刻批判，讓他名列當代美國代表作家之列。 在錢德勒的筆觸下，洛杉磯城被深切刻畫成重要性不亞於偵探的重要主角。 故此，我在本論文將探討錢德勒對於洛杉磯身為美國現代大城的空間呈現，試圖找出其再現對於美國城市文學與偵探小說的積極影響。 在第二至第四章的本文中，第二章處理私家偵探與其出沒的洛杉磯之間的關係。 我發現漫遊者的概念也可被應用在冷硬派私家偵探的明查暗訪，這兩者在顯示現代城市的現代性方面，都是代表性的謀介。 透過漫遊者偵探的私家之眼，真實與想像的洛杉磯同時歷歷在目，而勒婓伏爾與索雅的空間理論為理解錢德勒筆下洛杉磯真實與想像的城市空間再現的一大利器。 故此，第三章運用索雅的第三空間概念來探討錢德勒的空間再現，發現其筆下墮落之城的種種暗黑角落，都是第三空間的再現，因為它們都顯現一種被宰制的空間呈現，別同於洛杉磯被大力推銷為夢想之城的想像空間。 第四章處理另一個被忽視但重要的第三空間。 藉由私家偵探親身探索洛杉磯城中不同族群的空間，我發現這些空間也是另一種第三空間的呈現，因為這些空間亦屬於被宰制壓迫的空間，而錢德勒對於洛杉磯城的空間再現並未遺忘這些他者族群被壓迫的空間，故此更能證明錢德勒不愧為刻畫現代化美國社會的文學大師。 / Raymond Chandler is a prestigious detective-story writer and the founding father of the hard-boiled detective fiction school, but he is not limited to this sub-genre of the crime fiction. His laconic style and the socially critical depiction of Los Angeles elevates him as a great writer in literature, high-brow and low-brow. Los Angeles city in his depiction becomes another protagonist of Chandler’s Philip Marlowe stories. In this thesis, I attempt to adopt a spatial reading of the Los Angeles city he depicts, so as to explore the meanings of the real and imagined spaces and their possibilities of resistance for future interpretations. Besides the first chapter as the introduction and the last chapter as the conclusion, in Chapter Two, I will first compare the private detective to the flâneur, thereby discovering the contribution of these figures to the discovery and representation of modernity in modern cities. Furthermore, I will utilize Lefebvre’s and Soja’s trialectics of spatiality to examine the real and imagined spaces in Chandler’s novels. By doing so, in Chapter Three I argue that Chandler’s vivid spatial representations of Los Angeles, especially the dark side of the city, are actually the real-and-imagined Thirdspace that represents the dominated spaces against the promotion of Los Angeles as a dream city. In Chapter Four, though Chandler’s spaces convincingly reflect the modernity of Los Angeles as a modern city, I further discover another possible site for the space of representation in his stories: the space of the racial Other. This discovery of another Thirdspace proves Chandler isn’t as much a racist as alleged, and it is the counter-space that provides the possibility of resistance for many future hard-boiled detective fiction writers of different ethnicities, and this can explain why Chandler’s hard-boiled detective has been massively appropriated.

公共空間應該是什麼？公共空間裡的衝突該如何解決？本研究藉由中正紀念堂與街舞之經驗，歸納公共空間理論上爭論不休的問題。如何讓活動在公共空間中自由的發生？作為公共空間的中正紀念堂，代表特殊之文化意涵，與街頭舞蹈的表現的另類價值，因為硬體因素與交通區位而聚集在一起。但更重要的是街舞者如何利用生活，建構真實空間壓抑下的對立基地—第三空間，實踐公共空間真正的公共性，最終達成好的城市與好的公共空間之願景。 最後結果可以歸納為三點：第一、弱勢者在公共空間中其實一直被視而不見，因此公共空間裡需要的是真正屬於弱勢者的第三空間，否則沒有市民實踐的公共空間，沒有意義；第二、解決公共空間中的矛盾，必須回歸社會文化研究，發覺第三空間中，人、活動與次文化關係中隱含的契機—非正式體制；第三、規劃者必須有非正式體制的認知，在第三空間的社會文化與體制網絡內貢獻專業。 / What is public space? How to solve conflicts in public space? This paper has been summarized all issues of public space theory by the experience of C.K.S.'s memorial hall and street dance. How to let activities happen naturally? Public space which like C.K.S.’s memorial hall presents special cultural meaning, and combines with alternative value of street dance by material equipment and location. But more important is that how B. Boys “live” their “thirdspace” to counter pressure of real space, realize true publicity of public space, reach the goal of good city public space eventually. We can get three points in the end of this paper: first, there has be some thirdspace in public space because disadvantaged people have not been seen for so long, or public space is meaningless without people realized. Second, incase to solve conflicts in public space, we must return to social-cultural research to discover informal system, relationships between people, activities, and subculture in thirdspace. Third, planners have to realize the informal systems so to contribute their profession abilities within social-culture and network systems in thirdspace.