自一九六六年付梓以來，聘瓊的短篇小說《番號四十九的拍賣》中超現實的敘述技巧，以及科學、文學領域相互交織、對話的風格，一直是批評家立文探究的重點。批評家對聘瓊技巧的純熟以及風格的艱澀，給予高度的肯定。另外，批評家也推崇其對後現代小說發展的貢獻。本論文分成四章：首章討論女主角伊蒂帕．瑪絲如何成功地顛覆父權建構的被動身分；並且繪建女性自主性及書寫女性歷史。第二章討論本小說如何藉「縫隙」牽引讀者的想像力，並且讓讀者和聘瓊進行一場想像力的競技。第三章指出小說豐富的隱喻語言有助於想像力的馳騁及意義的繪建，閱讀行為即是書寫創作。第四章討論聘瓊的歷史觀：他揭櫫了歷史的虛構性，歷史不再是客觀的真理，而僅是歷史學者主觀意識及權力運作的產物。結論則指出「陰謀」是本小說最重要的主題。另外，「偏執狂」式的閱讀或「顛覆性」的閱讀乃是聘瓊的讀者所需具備的態度。讀者反應理論是本論文遵循的分析方法。本論文主張閱讀行為乃是想像力之旅。於閱讀的旅程中，讀者必須成為「偏執狂」，展現顛覆的精神，才是詮釋的真諦。 / Since its publication in 1966, Pynchon's short novel The Crying of Lot 49 has received considerable attention and discussion from critics. They are largely concerned with Pynchon's narrative technique of surrealism and his style of inter-disciplinarity. Pynchon's mature technique along with his style of elusiveness is highly celebrated. In addition, Pynchon's notable contribution to the development of postmodernist fiction is also recognized and respected by critics. 　　There are four chapters in this thesis. Chapter One is focused on Oedipa Maas's successful subversion of phallically or politically constructed identity of passivity. Furthermore, her mapping of femininity and writing of "herstory" are also the main concerns of this chapter. Chapter Two manifests that Pynchon leaves several "unwritten parts", or "gaps," to engage the reader's creative imagination. The novel, hence, is an arena, in which the reader and Pynchon participate in a game of imagination. Significantly, the dynamic interaction of imagination between the reader and Pynchon brings this novel into concretization. Chapter Three is devoted to discussing the profusion of metaphors of Lot 49. Through the interpretation of the metaphors, my reading of this novel is active. Further, instead of a passive consumer, or receiver, I become a co-producer of meanings, not only completing, but also enriching the novel. Chapter Four concentrates on Pynchon's aspects of concerns of history and linguistics. He exposes the fictiveness of history, calls into question the historical end and cause-and-effect, and reduces history to a linguistic construct of a verbal fiction virtually indistinguishable from Lot 49. I conclude that conspiracy is the central theme of this novel. Moreover, to proffer a positive interpretation of Pynchon's Lot 49, paranoid, or subversive reading is indispensable. 　　In conclusion, reader-response theory, promising freedom and autonomy of interpretation, is adopted as a strategy of analysis in this thesis. By this thesis, I argue that reading actually is a travel of imagination. In the travel of reading, to be a paranoia and to display the spirit of subversion are two important goals.