薩爾曼•魯希迪的《摩爾人的最後嘆息》運用想像與史實描繪出一個印度家族的故事。這個四代家族所經歷的時間橫跨整個二十世紀，一般說來在這個世紀前半部分大多數國家經歷了殖民統治與帝國主義，而在後半部分則面臨去殖民與國家主義的風潮。因此，書中論及的這些殖民與後殖民的經驗也引發了一些重要的議題，像是混雜、多元文化，和國家主義。霍米•巴巴提出‘閾限空間’這個概念有助於對這本小說做深入的評價與賞析，特別是能促進對以上三個議題更深入而具體的認知。霍米•巴巴將許多概念納入‘閾限空間’這個總括性術語的討論範圍，因此本論文將從中擷取三個概念來論述這本小說，分別是混雜、文化差異、及國家意識。 本論文的導論先闡釋霍米•巴巴‘閾限空間’這個概念並且發掘魯希迪這本小說中許多重要的後殖民議題。這些議題與‘閾限空間’ 這個概念的關係密不可分，因此這個概念所延伸論及的理論便可用於理解並賞析這本小說。接下來的三章將分別以混雜、文化差異、及國家意識來發掘並建立《摩爾人的最後嘆息》與‘閾限空間’這概念之間的關係。第二章將藉由霍米•巴巴對殖民者與被殖民者之間的矛盾關係的論述進而深入理解小說中意欲呈現的殖民混雜與後殖民混雜。這種矛盾的關係理論上與他者化的過程有關聯，在這過程中身分認同與主體化不論是在後殖民理論還是此本小說中都是值得商榷的議題。第三章利用霍米•巴巴的‘文化差異’來重新檢視並且重新定義所謂的多元文化。魯希迪在小說中巧妙地將現在的印度重疊在過去由摩爾人統治的西班牙之上，這種後殖民的羊皮紙影像便可藉由文化差異與多元文化的概念得到更具體的意義。此外，閾限空間也是一種不同文化的接觸地帶，這樣的中介地域也有助於理解魯希迪在流行文化與高等文化間所採的折衷主義。第四章則著重於探討霍米•巴巴如何發展閾限空間與國家意識的理論關係，還有國家與敘事之間的關係。此章也將利用國家與敘事的關係來理解魯希迪是如何在這本小說中運用許多文學技巧在小說世界中重構國家形象，尤其是文本互涉的材料與歷史的指涉這樣的技巧。 最後的總論將重申在本論文中提及的一些重要的論點，藉由重申這些論點來總結論文提及的一些重要概念的大意，並且讓魯希迪的《摩爾人的最後嘆息》與巴巴的‘閾限空間’這個文本與理論相互闡釋並佐證的關係更為清楚。 / Salman Rushdie’s The Moor’s Last Sigh delineates, fictively and historically, a family saga in India. The four-generation family approximately spans the twentieth century that, generally speaking, has gone through colonization and imperialism in the first half as well as de-colonization and nationalism in the second half. Accordingly, they bring forth a few significant issues, such as hybridity, multiculturalism, and nationalism. Homi Bhabha’s idea of ‘liminal space’ is conducive to the evaluation of the novel, and expressly to the discussion of the above three concepts in a more specific way. He subsumes a lot of ideas under the umbrella term ‘liminal space’, so this thesis is to extract three ideas—hybridity, cultural difference, and nationness—to elaborate on the novel. The introductory chapter expounds Bhabha’s idea of ‘liminal space’ and also explores a few post-colonial issues in the novel. The issues in question are related to Bhabha’s idea of ‘liminal space’, from which some key ideas are derived so as to appreciate the fictional world Rushdie constructs in the novel. The following three chapters are respectively based on the three liminality-related ideas, whereby to find the relation of the novel with Bhabha’s ‘liminal space’. The second chapter is to obtain a deeper apprehension of colonial and post-colonial hybridity through Bhabha’s argumentation concerning the ambivalent relationship between colonizer and colonized. The ambivalent relationship is theoretically associated with the othering process. In the process, identification and subjectification are moot questions not only in post-colonial theory but in the novel as well. The third chapter is intended to make use of Bhabha’s idea of ‘cultural difference’ to review and redefine what the word ‘multiculturalism’ is like. In turn, it helps to shed much more light upon Rushdie’s palimpsesting modern India over Moorish Spain. In addition, liminal space refers to a contact zone of cultural difference that elucidates Rushdie’s eclecticism between popular culture and high culture in the novel. The fourth chapter is to discuss the way Bhabha colligates liminal space and the idiolect ‘nationness’ and the way he relates the idea of nation to narration. The relationship between nation and narration is applied to the understanding of how Rushdie utilizes literary techniques, especially intertextual materials and historical allusions, for a re-construction of a nation in a fictional world. The conclusive chapter is to reiterate some important arguments that are germane to the above key concepts and to the reciprocal clarification between Bhabha’s ‘liminal space’ and Rushdie’s The Moor’s Last Sigh.

路易士‧卡洛爾的《愛麗絲夢遊記》(Alice in Wonderland, 1865) 及《穿越明鏡》(Through the Looking-Glass, 1871) 是十九世紀極為出名的兒童文學。兩本書中都描述一位名為愛麗絲的女孩如何進入一個奇幻的國度而展開旅程，以及當中她所遇見的各種角色。這兩本書不只豐富有趣，更充滿了諧擬以及邏輯和文字遊戲，使其成為現今許多學者研究的對象。但是，兩本書的相似性使得一般讀者或是學者在閱讀時，都將其視為同一則故事。然而，在仔細探索後，會發現卡洛爾在寫作過程中，很明顯地把兩本書做了區分。本論文因此試圖將兩本書進行比較分析，來重新檢視兩個奇幻世界以及兩個愛麗絲的差異性。 本文第一章為概論，簡單介紹卡洛爾及其兩本作品。第二章運用德勒茲和加達利的概念，針對仙境與鏡中世界的空間的進行比較。從文本例證中可看出，第一本書中的仙境近似一個「平滑空間」(smooth space)，而第二本中的鏡中世界則如同一個「褶縐空間」(striated space)。此差異性更凸顯了這兩段故事的不同。第三章主要應用透納的理論來探討主角愛麗絲與兩個空間的關係。透納利用范‧杰內普的「儀式理論」(rites of passage)發展出「閾限」(liminality)的觀念，並用此觀念來解讀正在進行生命儀式的個體以及其所屬的階段。許多學者認為兩段故事是在描述愛麗絲長大的過程，因此她的旅程可被視為她經歷生命儀式─成年禮的歷程。然而，雖然兩本書中的兩個空間均可被視為一種「閾限空間」(liminal space)，但只有鏡中世界塑造了一個成功的生命儀式，使愛麗絲在最後得以達到象徵性的成年。另一方面，由於仙境中缺乏線性進展，無法構成一個有效的生命儀式，導致第一本書中的愛麗絲到最後還是以小孩之姿結束在此空間的旅程。第四章援引兩位學者的文章來探討愛麗絲在兩個空間中身體呈現的差異以及和愛麗絲自我發展的相關性。由於愛麗絲在仙境中維持一個小孩的身分，她的身體與行為不會造成社會的威脅，在空間中也就不會受任何拘束。反之，在愛麗絲即將長大的鏡中世界中，其女性的身體卻必須受到限制。因此，在鏡中世界的愛麗絲不僅身體未出現任何變化，她的任何身體的慾望也必須受到克制。這與在第一本書中的身體再現是全然迥異的。第五章則是本文的結論；總結這兩本書的差異性，而身為讀者的我們也應正視其中的區別，進而能夠更加了解卡洛爾筆下的兩個奇幻世界以及兩位均名為愛麗絲的主角。 / Lewis Carroll’s Alice in Wonderland and Through the Looking-Glass have brought laughter to children as they journey with Alice through the fantasy worlds ever since their first publication in the 19th century. Filled with Carroll’s witty parodies and plays of logic, the books quickly become two of the most widely studied children fantasies. Both books are about a little girl named Alice who crosses a barrier and enters a fantastical dream world, in which she meets a variety of strange creatures. With the similarity of structures, the two books are often regarded as one single work in modern days. However, upon close examination, it is quite evident that the two works are of entirely different entities, and should be read accordingly. In my thesis, I explore the possibility of reading the books separately by comparing and contrasting Carroll’s creation of the two worlds, as well as the two different developments of Alice within the books. In chapter one, I give an overall summary of the author and a brief introduction of the background of the Alices. Chapter two focuses on the two spaces of Wonderland and Looking-Glass World. Using Gilles Deleuze and Félix Guattari’s notion of smooth and striated space, this chapter delineates how Wonderland is more like a smooth space with its rhizomatic routes and a lack of center, whereas the linearity of Looking-Glass World appears to be closer to a striated space. This critical difference highlights the individualization between the two worlds. Chapter three investigates the relationship between Alice and the two spaces by adopting Victor Turner’s concept. Drawing on Arnold van Gennep’s notion of the rites of passage, Turner proposes the concept of liminality, which is the state of an individual when he or she is undergoing a rite of passage. Most scholars suggest that both Alice books depict Alice’s development to adulthood, which makes Alice’s journeys through the two worlds rites of passage. However, while both spaces can be said to be liminal spaces for Alice, only Looking-Glass World constitutes a completed rite of passage for her, in which she reaches a symbolic maturity at the end. With no linear progression, Wonderland fails to be a rite of passage, and hence Alice comes out still as the child she is going in. Chapter four concentrates on the bodily manifestation of Alice, and how they relate to the difference in Alice’s self development in the two books. Drawing on Donald Rackin’s and Anna Krugovoy Silver’s articles, I find that Alice’s exuberant bodily manifestation and vigorous expression of bodily desires in Wonderland is due to the fact that Alice remains a young child, and that her immature body does not cause a threat to the Victorian society. Hence, Carroll allows her to be the fully embodied girl in the first book. In Looking-Glass World, in which Alice is on the verge of growing up, her body must be restrained. Thus, her body stays static and her bodily desires are contained, very different from the bodily representation in the first book. In Wonderland and Looking-Glass, Carroll has created two very enchanting stories, with two distinctive fantasy worlds and two separate developments of Alice. Conclusively, I believe that Carroll meant for them to be treated as two separate books, with two different spaces of the dream worlds and two protagonists by the name of Alice.