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.

《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.

由於深受雙重文化的陶養，艾里森在美國黑白文學典範所樹立的成就及地位是毋庸置疑的。儘管毀譽參半，其文學創作著實超越了種族的藩籬，潛藏深厚的意蘊。藉由《隱形人》主人翁探尋身分的書寫，艾里森不僅微觀的牽引出非裔美人的血淚傷痕史，更宏觀的突顯出人我之間謬誤的漠視及人類面對宇宙真實和虛幻的迷惘。本文藉西方二元思維排擠異己的探究，揭櫫西方論述及權力共謀運作如何使黑人主體性、文化、及文學傳統遭受肢解及消音，並期以重新省視及建構宿遭扭曲和存而不論的黑人主體性及傳統。本論文概分五章。首章梗概艾里森之生平、理念及創作技巧，並略述各章脈絡。次章探討西方歧視性論述及霸權交相運作如何箝制剝奪黑人的主體性。第三章描述黑人尷尬的雙重身分和闕離中心的主體，並探究恢復黑人主體的可能性。第四章提出重建黑人文化、文學傳統和反制的策略試圖鬆動主流文化。末章則檢視美國黑白種族相生相剋的關係，並嚐試以艾里森提倡的多元並置無限生機的理念去摸索出美國黑白種族之間生息與共的出路。 / Deeply inculcated by double cultural heritages, Ellison's literary status and achievement are beyond question. Though both attacked and applauded, his artistic works impregnated with profundity move beyond the racial boundary. His Invisible Man both microscopically touches on the sorrowful black history and macroscopically lays bare mankind's invisibility to intersubjectivity and the obscurity between reality and appearance in the cosmos. Through the analysis of the western binary system with complicity of power and discourse which excludes the denigrated Other, this thesis aims to depict how black subjectivity and black cultural and literary tradition are dismembered and silenced. It attempts to re-see and reconstruct the distorted black subjectivity and literary tradition put in bracket. The first chapter introduces Ellison' sbiographical background, his ideas, and literary techniques. Chapter two focuses on black subject formation under the control of discourse and power. Chapter three expounds the dilemma of black double-consciousness and black decentered identity by partially borrowing the concept of differences of postmodernism and poststructuralism. Chapter four poses the problem of reconstruction of black tradition and its subversive strategies. The final chapter examines the symbiotic and intensified relationbetween blacks and whites and seeks to find a way out by Ellison's integrationist advocation of multiple possibilities.

溫特森最新的實驗小說《魔力書》，以網際空間為喻，探討性自由與權力之間的關係；是一本因應千禧年而誕生的作品。故事中的主人翁阿里(Ali)，藉由答覆網上不知名的筆友，為讀者揭示女性主體及性慾自主的議題；作者巧妙地將自己擅長的詩意散文、新奇敘事體，融入哲學思維，與網際網路天馬行空的力量相結合。本論文旨在以宏觀哲學的角度分析女性各個不同時期的處境，並指出《魔力書》除了充溢智慧、想像、力量之外，是一本關切女性處境及主體的小說。 本論文以西蒙•波娃有關女性主體論述為主要理論架構。論文主體可分三部分。第一部分旨在分析權力關係的影響，並以書中網路外遇事件為例，彰顯出已婚女性受傳統意識型態箝制，失去性自主的契機。第二部分從敘事者的角度，以女性特有言說方式，持續探討女性情慾自主的議題。最後一部分處理敘事者不同形式的存在模式，並以宏觀角度分析，不同時期(神話、奇想、網際空間)女性主體的變化性。 對照四十年前的女性處境，處於科技時代的摩登女性仍然受制於傳統女性特質的制約，或是受到強勢意識型態所掌控。面對此情境，女性應藉由參與社會或政治活動，承擔起改變世界的責任，來確保個人主體性的完整；女性應對自我有更多的期許及要求。溫特森在《魔力書》中藉由答覆網路筆友的要求─「自由，給我一晚的自由」─其實真正探討的是確立女性主體性的重要概念。 / Winterson’s latest novel The PowerBook (2000) is an experimental work of fiction that uses the metaphor of cyberspace to portray the issue of sexual freedom and power, a book that greets the challenge of the new millennium in Winterson’s design. By answering to an unknown on-line correspondent’s need, the narrator and e-mail writer Ali explores the very issue on women’s subjectivity and the autonomy of femininity, adroitly connecting the power of the Internet (the imaginary and the virtual) with her poetic prose and inventive narrative in conjunction with philosophical significance. My thesis aims to start a complicated analysis of women’s different situations from a philosophical perspective. I think The PowerBook, invested with wisdom, imagination and power, is a book that concentrates on women’s situation and subjectivity. Simone de Beauvoir’s concept on women’s subjectivity constitutes the most important theoretical framework of my thesis. The main body of the thesis can be grouped into three parts. Firstly, I will probe the effect of power relations on a virtual forbidden love affair, manifesting that the married woman is manipulated by the patriarchal ideology so that she ultimately fails to fulfill her autonomy of femininity. Secondly, I will discuss, mainly in terms of a feminist discourse theory, the issue on the autonomy of femininity revealed in Ali’s narrative. Thirdly, the last section of the main body will not only deal with Ali’s various modes of existence, but also aim at exploring women’s selfhood in respect of myth, fantasy and cyberspace. By contrasting women’s situation at present with that almost forty years ago, I will show that modern women in the technological age are still either bound by the myth of femininity, or conditioned by dominant ideologies. Finally, I will conclude that modern women should not only act as independent subjects, but also demand more and expect more for themselves. By participating in social and political activities, they are able to take the responsibilities for improving the world. It can be interpreted that to answer to the correspondent’s need—“Freedom, just for one night”—is actually to examine the main subject on women’s existence in Winterson’s intention.

南西. 弗萊德的《我的秘密花園》在探討女性思想，身體透過對和性意識的議題上被認為是其中一本最重要及有用的書。透過對性廣泛及露骨的討論，女性不僅在幻想中，甚至在現實面也能對其生理的欲望和需求有非常深入的了解。 在第一章中，我首先討論南西. 弗萊德搜集女性性幻想的意圖，緊接著強調女性對性並非是沉默的一群，因為在《我的秘密花園》中女性而非男性對性愛握有主控權。為了要明顯區隔《我的秘密花園》與男性為主的色情之差異，我討論女性如在何在南性色情中被錯誤的表現成為性商品及《我的秘密花園》所要顛覆的主題。 而第二章主要強調一些女性主義者對啟蒙時期二元論的攻擊，因為她們深信深藏在此二元論中的階級意識是造成女性地位低下的主因。因此，班森及傅柯的全景敝視的概念在此當成審視女性被父權物化所限制的主要架構，此觀念介紹後，我便詳加敘述全景敝視主義之主要效果並探索此一效果是如何壓制一般女性。 在第三章中，我不僅將重點集中在女性書寫的建立，更將《我的秘密花園》視為其中一例。從主題中可清楚發現女性之主體性。 在第四章中，《我的秘密花園》被比喻為性的嘉年華會，其參與者無不盡情享受性之歡愉，因此審視巴克定狂歡化的概念，可幫助讀者更深一層了解嘉年華式顛覆的力量及其相關的特性。 最後，我在第五章中重述各章之要點並指出認知女性欲望對其自主發展之重要性。我在此也相信，性對男女而言，都是最基本的生理需要，假如男性對性渴望，女性也一樣。南西. 弗萊德是第一位搜集女性性幻想的作家，但是她絕非是探討女性性論述的尾聲。 / Nancy Friday's My Secret Garden is regarded as one of the most important and useful books on the issueof women's thoughts, bodies and sexuality. Though a wide-ranging frank discussion on sexual matters, women are fully cognizant of their physical desires and needs of heir bodies, not only in their fantasies but also in their real lives. In chapter one, I discuss, first of all, Nancy Friday's intention of collecting female sexual fantasies and then emphasize that women are not sexually silent in My Secret Garden because it is they, instead of men, that hold the key to sex. To show how remarkably My Secret Garden differs from male pornography, I discuss how women are fallaciously represented as sexual objects in pornography and what My Secret Garden is aimed to subvert. In chapter two, some feminist's attack on the Enlightenment dualism are brought into focus, because they believe that it is the hierarchy lurking in the Enlightenment that results in women's inferiority. Therefore, Jeremy Bentham's and Michel Foucault's ideas of panopticon and panopticism are used as a framework to examine how women are confined by patriarchal culture. After introducing their ideas, I specify the main effect of panopticism and explore how the effect subjugates women. In chapter three, I concentrate my attention not only on why feminine writing has to be established but also on how My Secret Garden can be viewed as one. After the discussion on feminine writing, I focus on the textual analysis of My Secret Garden by investigating its main themes. From those themes, women's subjectivity is clearly observed. In chapter four, I compare My Secret Garden to a sex carnival where every participant enjoys sex. Hence, Mikhail Bakhtin's notion of carnivalization is examined in order to help the readers understand better the subversive power of carnivalization, and some of its important features are thus carefully analyzed. In chapter five, I recapitulate the central points of each chapter and point out the significance of understanding women's own desires in the development of their subjectivity. I also believe that sex is one of the most basic needs for both men and women. If men have the propensity for sexual needs, so do women. Nancy Friday is the first one to collect female erotic fantasies, but she will not be the last one to investigate discourse on sex.