本論文旨在探討約瑟夫.海勒 (Joseph Heller) 第二本小說 <<懼變>>中自我辯証的策略及牽涉在其中自戀的主題. 基本上, <<懼變>>乃為一第一人稱敘述之作品. 身兼小說中的主人翁及敘述者, Slocum 憑藉其在敘述中對語言文字支配的 "優勢," 企圖由文字飄浮的意符中重新建構自我的意指, 以凸顯 / 再塑自我的主體性. 換言之, 經由 "說" 和 "寫" 等自我辯証的手段, Slocum 嘗試建立自我的權力中心, 肯定自我的自發及實體存在. 而本論文的根本論述即在於 Slocum 自我肯定的 "需要" 源起於其病態自戀的人格. 在這一點上, 我將援用 Freud, Lacan,Alford 等人自戀的理論, 指出自戀慾力雖然是自我形成的原始動力, 病態自戀人格卻表現於對自我價值的懷疑和無休止的自我追尋. 在小說 中, Slocum 必須藉著不斷的自我表演來肯定自我, 他的自我追尋正足以彰顯他自我的匱乏和對外界肯定的依賴.本論文分為五章. 首章涵蓋自我問題, 自戀理論及病態自戀三部份,就本論文的理論基礎加以申論. 次章以 Slocum 的追尋 (Quest) 和反追尋 (Anti-Quest) 為主題, 了解Slocum 以第一人稱敘述者對其敘述的控制. 第三章探討自戀人格二元性的論點, 指出潛藏在 Slocum 自我權力爭取之後重返嬰兒前鏡像期 (Pre-Mirror Stage) 的慾望. 第四章引用 Christopher Lasch 文化批判的觀點, 分析美國二次戰後消費社會裡經濟和文化的生態, 以圖找出自戀人格崛起的文化背景. 末章總結全文論述,並以 "自戀敘述" 的概念, 闡明<<懼變>>一書結構上自戀的特質. / The purpose of this thesis is to explore Something Happened, the second novel written by Joseph Heller, in light of the contemporary theories of self, especially the research made on narcissism. Through an analysis of Solcum’s self-politics, I intend to clarify the power-relations between self and other, narrator and his audience, speaker and language, as well as the individual and the culture revealed in the novel. Not only does Slocum embody the self who attempts to exercise self-power by means of self-performance in his narrative but this self-performance, instead of consolidating Solcum’s subjectivity, ironically reduces his self to be an object controlled by the outer world of consumption. Besides summarizing the whole research, the final chapter refers to the concept of the “narcissistic narrative.” Through an analysis of the narcissistic essence in Slocum’s writing, I reconfirm the value of Something Happened in modern literary creation.

國立政治大學研究所碩士論文提要 研究所別： 英國語文研究所 論文名稱： 閱讀溫特森&laquo;銘刻在身&raquo;的爽 指導教授： 劉建基教授 研究生： 張惠慈 論文提要內容： （共一冊，約 31500 字，分五章） 本研究關於溫特森的《銘刻在身》旨在探究在閱讀此文本過程中，不同程度及不同形式的爽(jouissance)。此研究將著重於三方面：其一，追求愛情的爽；其二，在幻想中永恆的爽；其三，閱讀文本《銘刻於身》的爽。本論文將分五個章節。 我在第一章的前半部簡介溫特森及她的小說，在後半部，描繪拉岡心理學中三個限界（幻真界[the real]，想像界[the imaginary]，及象徵界[the symbolic]），及此三界與爽的交互作用。這三個限界及爽，將是本研究的理論基石。 第二章的討論旨在解釋，為何敘述者著迷於不斷陷入愛情，及為何露伊絲在小說結尾莫名其妙的消失了。乍看之下，敘述者對露伊絲的愛相當矛盾：敘述者對露伊絲宣稱其無窮的愛，卻又刻意地悄悄的遠離了她。然而事實上，敘述者的矛盾行為堪稱合理：因為愛與失去是共生的。在浪漫愛情故事裡，一段介於愛的主體(the loving subject)及被愛客體(the loved object)之間的距離是必要的。表面上，愛的主體（敘述者）的追求過程裡看來痛苦，而實際上他正無意識的，享受著對被愛客體無限的追求時的爽。在這迷戀他者的過程中，主體實際上是自我迷戀(narcissism)，而在這自我迷戀的過程中，主體將其自我理想(an ego-ideal)投射在被愛客體上，並美化被愛客體成為一理想的自我(an ideal ego)。 在第三章，我將對敘述者迷戀愛情的現象做更深入的探討：到底敘述者打算由露伊絲的完美形象中挖掘什麼，以及為何敘述者得與一個理想戀人，住在一個理想愛情的幻象之中？我發掘出其中最主要的原因來自於，主體懼怕被去勢及懼怕象徵界中的無能（例如婚姻、老去、死亡）。主體具有一個原生的欲望：期待完滿及永恆（此欲望是期待回歸幻象界以及獲得爽），然而在現實世界（象徵界）的短缺及壓迫之下，回歸的可能被榨乾。幻象(fantasy)於是成為主體（敘述者）的護欄，它一方面讓主體相信自己是全能，另一方面它掩蔽事實，讓主體忘卻自身的不完整和無能為力。 在第四章，我跳出單單在文本內容中的討論，進而探討文本與讀者之間的關係；本討論的立論基礎為羅蘭巴特的書寫式文本(writerly text)。在文本╱讀者及露伊絲╱敘述者之間，有一類似的有趣現象：文本之於讀者正如同露伊絲之於敘述者。在這兩個情況當中同時都有一被動的客體(the desired or probed object)勾引探索中的主體(the probing subject)，然後再由主體的追求中脫逃而去。閱讀《銘刻於身》，表面上痛苦萬分，而實際上卻令人陶醉：因為閱讀的爽正源自於，作者刻意設計的不確定因素(uncertain elements)。這些不確定因素，一方面玩弄讀者，一方面也在文本上形成一未填滿的空間，其特徵就是不斷的衍生(endless generation)－－讀者可以參與創造各式各類的可能性，而意義的系統將不斷延伸。一個單一的文本，在此不斷延伸的系統下，便成了多重文本，而閱讀此類書寫式文本之樂趣，就在於讀者不得不參與創造意義的過程。 最後我在第五章的結論部份，總結了愛與閱讀的爽具有相同的條件與模式：在追求的主體（讀者與愛的主體）與被追求的客體（文本及被愛客體）之間，空間與距離是不可避免的要素，因為隱藏在人體內的爽本身就是一個矛盾體。 Chapter One Introduction Chapter Two The Jouissance of Pursuing Love Chapter Three The Jouissance of Being Immortal in Fantasy Chapter Four The Bliss of Reading Written on the Body: A Writerly Text with Jouissance Chapter Five Coda / Abstract In this study of Jeanette Winterson’s Written on the Body I would like to explore jouissance in different forms and levels in the process of reading this novel. The emphasis will be laid upon three aspects: first, the jouissance of pursuing love; secondly, the jouissance of being immortal in fantasy; and thirdly, the jouissance of reading this novel. The thesis is divided into five parts. In the first chapter, the beginning section is devoted to a general introduction of Jeanette Winterson and her novels; in the ensuing section, I will picture the interrelationships between the three registers—the real, the imaginary, and the symbolic—and jouissance in Lacanian psychoanalysis, which will be adopted as the interpretative model to account for the theme of jouissance in the whole thesis. In the second chapter, I will stress on the narrator’s exalted love toward Louise and the construction of his/her ego. On the surface, it is odd that the narrator’s sublime love for Louise contradicts his/her decision—to leave Louise; however this paradox is reasonable, because love and loss is in fact symbiosis. A distance between the loving subject and the loved object is necessary in the case of romantic love; though painful, the loving subject enjoys itself in the act of endless pursuit for the loved object, which is actually an ideal ego of the subject’s self. The paradox of love in company with suffering explains the narrator’s addiction in love and the disappearance of Louise. In the third chapter, my interest is getting deeper: what does the narrator want to grub out of the ideal image of Louise, and why does the narrator have to live in the fantasy of ideal love and to be with an ideal lover? The principal cause that I will explore is the fear of being castrated and of the impotency of the symbolic. The subject has an essential desire to be integral and immortal (which is the concept of the real and is allied to jouissance), but there are forces from the reality (or the symbolic) to drain this desire. Therefore, fantasy becomes a protective talisman for the narrator (as well as for every subject) to forget its fragmentation and inability. In the fourth chapter, the interrelation between the text and the reader is the dominant consideration, and Roland Barthes’ theory of writerly text that engenders bliss (jouissance) will be the critical base. There is an interesting formula between the text/the reader and Louise/the narrator. The text for the reader is similar to Louise for the narrator: in both situations, the desired one seduces and slides from the probing other. Reading Written on the Body on the surface is painful and irritating; in a sense, the act of reading is ecstatic. The origin of the bliss of reading is the uncertain elements intentionally created by the author. The unfilled space in the text that entertains readers is characterized by its feature of endless generation—various possibilities are created, and the network of meanings extends. Therefore, to conclude the whole scheme of love and reading in the fifth chapter, I will point out that a space or a distance between the pursuing subject (the reader or the loving subject) and the pursued object (the text of the loved object) is inevitable because jouissance inherent in the human body is in its essence paradoxical.

傅敖斯的《法國中尉的女人》是否為一女性主義文本一直是批評家爭議的焦點;絕大多數的女性主義批評家都認為傅氏挑戰父權偏見不成而自陷 於其迷宮中。本論文旨在探討傅氏小說中女性主義議題,剖析小說人物的三 角關係與性別政治。 本論文共分四章:首章討論拉岡和李維史托從亂倫禁忌的情慾三角論 述;藉由女性主義家依希葛萊對拉岡和李維史托的批判和挪用,闡釋父權文化如何使女性在心裡和社會層面皆化為第二性。 第二章結合李維史托和依 希葛萊的理論,從查爾斯和提娜的婚盟以及查爾斯的紳士俱樂部集體嫖妓行 為,討論傅氏小說女性淪為男性的交換物,形成依希葛萊所謂父權社會的底 層結構--男(同)性(戀)經濟。 第三章融和拉岡和依希葛萊的精神分析理論 ,討論在查爾斯與提娜, 莎拉的三角戀情呈現的性別政治。第四章討論激 進女性主義和莎拉,蜜莉,克莉絲迪納三人的同性戀:在簡述女同志愛與女性 主義之契合後,由依希葛萊,維蒂格等人的分離主義指出莎柆如何在女人之間的情慾三角糾葛,逾越父權社會定義下的男女性別界限,並且建立獨立男性之外的女性主體。 / Fowles's The French Lieutenant's Woman~U1;'s feminism has been a point of contentions among feminist critics; most feminist critics argue that Fowles is not a feminist but a phallocratic wolf clothed in feminist clothes. This thesis intends to readdress the feminist issues in Fowles's novel by probing onto the multiple layers of triangular relationships and sexual politics among the characters. This thesis consists of four chapters. A theorectical base of this thesis, Chapter one is a discussion on the "the discourse of erotic triangle" posited repectively by Lacan and Levi-Strauss through the idea of incest taboo. Through French feminist Luce Irigaray's critigue and appropriation of Lacan and Levi-Strauss, this chapter lays bare the subordination of women in patriarchal society, psychological or social. Chapter Two is concentrated on what Irigaray calls the foundational structure of patriarchal society--"hom(m)osexual economy". The matrimonial alliance between Ernestina and Charles and the sexual escapade of Charles' gentlemen club are singled out to illustrate how women are exchanged as objects between men. Chapter Three focuses on the sexual politics in Charles' s love triangle with Ernestaina and Sarah. Chapter Four deals with radical feminism and Sarah's lesbianism with Millie and Christina. Irigaray's and Wittig' separatist politics are deployed to show how Sarah transgresses the patriarchally-defined boundary between the sexes, destroys the Victorians' mythologization of women as asexual--yet produtive--Madonna, and then forges an subjectivity independent of the male sex.

本研究以人際關係為出發點，希望了解在社群網站形成的人際關係網絡中，個人自我呈現需求和人際關係需求與自我揭露之關聯，揭露對象的差異以及人格特質的影響。本研究以問卷調查法進行，對擁有Facebook帳號者之使用者發放問卷。結果顯示，個人提升自我形象、主動包容和情感期待需求對於在社群網站中向普通朋友及親密朋友的自我揭露有正向影響，情感表達需求對於在社群網站中向普通朋友的自我揭露有正向影響；被動歸屬需求對則普通朋友及親密朋友的自我揭露有負向影響。 此外，外向與自戀人格特質的使用者自我揭露行為上，也有不同的發現。內向的人的被動歸屬需求對普通朋友及親密朋友的自我揭露有負向影響，且被動引導需求對親密朋友的自我揭露有正向影響。而自戀的人的主動控制需求對普通朋友的自我揭露有正向影響。 研究結果提供了基於人際關係需求的社群網站自我揭露動機，並分析面對不同揭露對象時，人際關係需求對揭露的差異，對社群網站使用者的動機和行為有更深入的了解，並提供理論基礎。而針對不同人格特質的使用者，比較在社群網站自我揭露之差異，了解社群網站使用者的不同面貌。 / This study tried to understand the influence of self-presentation need, interpersonal need on self-disclosure of normal friend and close friend at the social network sites. Sample survey was applied to investigate Facebook users. The result reveals that “self-promotion”, “expressed inclusion”, and “wanted affection” needs have positive impacts on self-disclosure of normal friend and close friend in SNS. “Expressed affection” needs have positive impacts on self-disclosure of normal friend. In addition, “wanted inclusion” has negative influence. Furthermore, there are some different findings among extroverted, introverted, narcissistic and non-narcissistic groups.