論文架構——梁實秋先生的事蹟與著作╱梁實秋先生的散文作品的分類與考述╱梁實秋先生的文學觀與批評觀╱梁實秋先生的散文觀與雜文觀╱梁實秋先生的散文藝術成就╱梁實秋先生的雜文藝術成就。 第一章緒論中，敘述研究動機、方式。第二章勾勒作家所處的社會文化環境，以及生活經歷、時代背景，都會影響到他的創作與風格。並且將梁實秋先生畢生著作，涵蓋散文、文學評論、翻譯、英語辭典編著、英語讀本與教材的編著等，按年代先後順序一一羅列，並且說明出版社、版本及頁數，以完整呈現梁實秋一生的重要著作。第三章進一步將梁實秋先生的三十六本散文作簡介與考述。 第四章是論述梁實秋先生的文學觀與批評觀。梁實秋在華學校就讀時期，創作理念接近於浪漫主義，但到美國哈佛留學後，在思想上深受白璧德的影響，思想轉到了古典主義。因此，在這部分，分述梁實秋的浪漫主義、古典主義及人文主義的思想。此外，自西元一九二七年至一九三六年，梁實秋與魯迅之間的論戰，震撼了整個中國文壇。梁魯之間論戰的主旨，著重在兩個問題上，一是文學的階級性和普遍的人性問題；另一則是關於翻譯中的硬譯問題。但是爭論的核心是文藝批評中最引起爭論的問題──「人性論」，其他爭論都環繞此軸心而轉動，並以此為焦點擴散延伸。其次是文學批評觀，主要從《文藝批評論》及《梁實秋論文學》二書中，去闡發論述其在文學批評上的觀點。 梁實秋在〈論散文〉一文中，曾指出散文的形式、特色、文調及原則；也論及散文最常見的毛病，如：太多枝節、太繁冗、太生硬、太粗陋等。透過他散文作品的分析、論述及舉證，可以歸納出梁實秋的散文創作理念包含了散文要忠於自我，切記模倣；散文講求感情滲入與文調雅潔；散文的根本原則是「割愛」；散文的最高理想是「簡單」。此外，檢視梁實秋的散文創作，有半數均是「雜文」寫作的風格及題材；而有些著作甚至直接以「雜文」命名，如：《實秋雜文》、《秋室雜文》及《雅舍雜文》等。因此在第五章中，根據作品內容，整理、歸納出梁實秋的雜文創作觀點。 第六、七章分別就梁實秋先生的散文藝術成就與的雜文藝術成就作闡述與探討。從題材、情趣、風格、修辭等方面，作分析與舉證，以凸顯梁實秋先生散文作品之成就。 　 第八章結論，簡論梁實秋先生一生在學術、編輯、散文、翻譯等方面的成就，進而肯定梁實秋在現當代文學史上絕對有明確的定位。

本論文旨在討論內戰持續性的差異是否可以以其政治轉型解釋？也就是說，作者欲探討為何有些內戰較短、有些內戰較長？是否有關鍵因素導致內戰持續性之差別。目前學術研究多著重於以非政治因素（經濟因素）解釋內戰延續性問題，但筆者認為政治制度相對於其他因素（經濟、社會制度）是最能解釋內戰持續性差異之自變數，並提出本文核心假設－「內戰隨著政體的民主深化而縮短。」，其主因有三：（一）生活於民主政權下的人民，政治壓迫感較小（二）民主促進社會的重新分配（Redistributive）消弭國內之不平等狀況；（三）民主政府能透過稅收進行公共財的施放或公共服務滿足人民。 本文之研究方法以質性分析法的個案研究法為主，以南美洲作為研究對象而不以內戰發生最頻繁的非洲為研究對象，乃因2016年11月13日哥倫比亞政府正式與左翼武裝「哥倫比亞革命軍」（FARC）簽署修正版和平協議，結束長達半世紀的敵對狀態，引發作者對南美洲內戰延續性之研究興趣。經過最大相似法篩選後，作者以哥倫比亞與哥倫比亞革命軍和秘魯與光明之路的內戰作為個案案例，透過個案研究法，本文研究發現符合筆者之核心假設。筆者認為本文之內戰研究發現提供受內戰影響之國際社會、國家有關政治制度面之政策方向－即民主深化對於一國內戰延續性之影響力。

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本篇論文主要是以藏傳佛教的格魯派所詮釋的中觀應成派思想，來反思Axel Honneth批判理論。雖然兩者都共同關懷如何解決現實的痛苦，都努力提出一個能夠具體解決當前人類不滿的實踐方案，但由於兩者所辨認的痛苦成因有所差異，因此提出了不同的解決之道。本篇論文站在中觀應成派「二諦」的角度，認為Honneth所提出的批判理論並沒有正確地辨認出痛苦的根源「自性執」，而僅僅提出了「世俗諦」層次的解決方案，因而無法真正地對症下藥，從根源之處解決痛苦。 本篇論文企圖論證以下兩個命題：第一，我們必須正確地掌握「作為痛苦的根源的自性執」，如果不透過這個步驟，就沒有辦法根本地解決痛苦。進一步我們應該要了解到，Honneth批判理論本身也是自性空的，否則一個企圖解決痛苦的理論資源，本身反而就是增加痛苦根源的一部份。第二，由於「黑格爾左翼的批判理論」所提倡的「具體地提出具有交互主體性的解決痛苦的實踐方案」這個訴求是作為中觀應成派與批判理論的共同關懷，因此，我也企圖說明從「二諦」的觀點出發，並不會與這個基本關懷相衝突，如此一來，就能夠說明以中觀應成派的二諦作為分析基礎，是具有社會實踐的潛力的。 為了論證這兩個命題，本文的章節安排如下。首先，第一章作為導論，說明全篇文章的論證架構。第二章則說明Honneth所定位的批判理論，即「黑格爾左翼」及其重要的概念「內在超越」的意涵。這樣的方法論特別強調了「對當前的痛苦提出具體的實踐性解決方案」的訴求。在第三章中，我把焦點放在Honneth所提出的「為承認而鬥爭」的批判理論模型，主要的目的是概要出承認理論的根本命題。在第四章中，我會討論中觀應成派的幾個主要概念，即「所破」和「二諦」，希望透過這三個概念能夠概要出格魯派思想的核心，並以此為基礎來形成反省Honneth批判理論的基礎架構。第五章則具體地說明「Honneth承認理論各個概念的空性」。我將從中觀應成派的思想中，提取較為相關的討論來進行說明，包括了「『人』無自性」、「『行動與行動者』無自性」、「『貪欲與貪者』無自性」以及「『苦』無自性」等等討論，這些都是對應於Honneth承認理論的核心概念而來。第六章為結論，以前五章的討論為基礎，重新說明上述的兩個命題。 / In this thesis, I want to reflect Axel Honneth's critical theory through Tibetan Buddhism dGe Lugs pa, founded by Tsongkhapa in the fourteen century, who followed and expounded the thought of prAsaGgika-mAdhyamika. Both Honneth and dGe Lugs pa are focusing how to comfort people's suffering realistically and practically. However, by means of the thought of dGe Lugs pa, especially the view of two-truths, we could point out that Honneth's approach would fail to solve the problem causing people's suffering completely, because he did not recognize the real cause of the suffering. In the view of dGe Lugs pa, our suffering is resulted from the innate ignorance in our consciousness which grasps everything as existing truly and inherently. I want to prove two propositions in this thesis: in the first place, I argue that we can't really comfort our suffering completely unless we recognize the true cause of the suffering, the ignorance of seeing things inherently existing, and transform it rightly by means of understand that everything is empty of inherent existence without exception. I will reflect Honneth's critical theory and find that all essential concepts of his theory of recognition are empty of inherent existence. Secondly, I argue that if we rightly understand dGe Lugs pa's thought, we would not abandon the goal of practically resolving the problems causing people's suffering, which is the common interest of Axel Honneth and dGe Lugs pa. In order to prove these two propositions, I arrange the thesis into six chapters. The first chapter is the introduction to the thesis's main arguments. The following two chapters focus on Honneth's critical theory: in chapter two I will illustrate the so called " left-Hegelianism", by this concept Honneth emphasis the critical theory which is directed to diagnosis the social pathology, and accordingly transform it practically through social praxis; the third chapter will elaborate the model of "struggle for recognition", which is founded by Honneth to revive the left-Hegelianism critical theory at the present time. In chapter four I will illustrate some essential concepts of dGe Lugs pa, including the concept of svabhAva, two-truths and bodhicitta. Through these illustrations I want to found the tool for pointing out the misrecognition of the cause of suffering in Honneth's critical theory, and explain the dGe Lugs pa's alternative solution to the problem causing people's suffering. In fifth chapter, some reasoning using for proving the emptiness of inherent existence will be expounded, the concepts which we want to show empty of inherent existence are: "I", persons, actor, act, suffering, the person who suffers, desirous one and the desire. These concepts are those essential for Honneth's critical theory. By means of understanding the emptiness of these concepts, we will understand those concepts Honneth used for constructing his theory are empty of inherent existence. In chapter six, the conclusion of this thesis, I will use the resources illustrated in above five chapters to restate the two propositions arguing in the introduction.

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

摘 要 根據鍾理和寫給文友廖清秀的信函中，指出他約在一九三○年左右，接觸了大量的中國新文學作家的作品，引起他強烈的閱讀興趣，甚至到了廢寢忘食的地步，而其中影響最大且最深的要算是魯迅，因為不論在他的日記或與文友的通信中，最常提及的中國作家就是魯迅。 魯迅是中國新文學運動中最重要的作家，他在文學上的成就，不僅在中國，甚至對鄰近的日本、韓國、新加坡等都產生了深遠的影響，他不僅是中國文學上的巨人，也是躋身世界文學之林的大文豪，日據時期的台灣文壇就是站在世界文學的角度上，開始閱讀並接受魯迅，鍾理和也就是在這樣的文學背景下接觸魯迅。因此，我們在看待魯迅對鍾理和的影響之時，並不把他當作是個獨特現象，而是把他放置在「台灣魯迅學」的範疇中，視為魯迅在台灣傳播的眾多面向之一。所以，本論文首先簡單探討魯迅文學在台灣的傳播情形，再透過對兩人文本的細讀與比較，尋繹魯迅對鍾理和文學的影響。 要進行不同作家文學的傳承或影響的研究，並不能只強調兩者的接觸關係，還必須在諸如主題、表現方式、文字技巧、創作風格等等的層面上進行考察，才能得到較為完整、正確的結果。因此，我們嘗試在鍾理和的作品中，尋找若干對魯迅文學的繼承或轉化的情形，尤其在顯而易見的國民性批判議題與寫實精神的發揚上，除了探討文字上所具體呈現的影響外，也注意在精神或思想上的可能關連。透過這些全面而深入的討論，我們看到鍾理和之所以接受魯迅文學，無疑地主要是著眼在「現代性」這部分上。同樣源自對傳統封建思想的不滿，企求對所處社會進行改革，在國民性的議題上，在對鄉土的寫實與批判上，無一不是站在「現代性」的立場，吸收、學習魯迅相關的文學與思想，但鍾理和的文學並不完全等於魯迅，他一直有著自我獨特的風格，始終立足於台灣的觀點，恰如其份地展現他的主體性。 此外，我們也明確的看到鍾理和是在文學上認識、接受並詮釋魯迅的，有別於被中共神化或國民黨貶抑的扭曲形象，在這裡我們重新看到魯迅作為文學家的真實形象。而鍾理和借鑑魯迅文學的事實，也說明魯迅或中國文學確曾對台灣文學的發展產生作用，並客觀證成台灣文學開放性的特色。 / Abstract Zhong Li-he pointed out in his correspondence with his literary friend Liao Qing-xiu that sometime around 1930 he began to be in touch with a lot of literary works written by Chinese new-vernacular literary writers, which aroused his intense reading interest to the extent that he couldn’t eat and sleep without finishing reading them. Lu Xun was the Chinese writer who had the greatest influence on Zhong Li-he because his name was most often mentioned in either his diaries or his correspondence with his literary friends. Lu Xun, whose achievement in literature exerted profound influence not only in China but also on neighboring countries such as Japan, South Korea, and Singapore, was the most important writer in the Chinese new-vernacular literature movement. Not only was he a literary giant in Chinese literature, but he was also an eminent writer in world literature. In fact, the literary arena of Taiwan under Japanese colonial rule started to read and accept the works of Lu Xun from the perspective of World literature, and it was against this literary background that Zhong Li-he began his contact with the literary works of Lu Xun. Therefore, we do not treat Lu Xun’s influence on Zhong Li-he as a unique phenomenon; in contrast, we place it in the field of “Lu Xun Studies in Taiwan,” and regard it as one of the many facets of how the literary works of Lu Xun were disseminated in Taiwan. Therefore, this dissertation first discusses how Lu Xun literature was disseminated in Taiwan. It then inquires into the influence Lu Xun exerted on Zhong Li-he literature by comparing their literary texts. When carrying out a research into the inheritance or influence of the literary works of different writers, we cannot emphasize simply on the way they contact with one another; on the contrary, we must also examine other facets such as the literary subjects, the ways they are expressed, the writing skills, the creative writing styles etc. so as to arrive at a more complete and correct conclusion. Therefore, we attempt to find out how Lu Xun literature was inherited or transformed through the reading of Zhong Li-he’s literary works. For instance, when dealing with the issues of national characteristic criticism and the promotion of realistic writing, we not only discuss the influence they embodied in written language, but also take notice of the possible correlation between them in terms of spirits or thoughts. By means of comprehensive and thorough discussion, we find out that Zhong Li-he’s acceptance of Lu Xun literature was undoubtedly because of his focus on the aspect of “modernity”. Similarly, on the issue of national characteristic and on the realism and criticism of “hometown”, Zhong Li-he’s position was anchored in “modernity”, expressing his discontentment with traditional feudalistic thinking and his great eagerness for social reforms. Even though Zhong Li-he learned and soaked up Lu Xun-related literature and thoughts, Zhong Li-he literature is not equivalent to Lu Xun literature because Zhong always had his own unique style. He grounded his position from the perspective of Taiwan, which reflected his subjectivity. Finally, we clearly find out that Zhong Li-he came to know, accept and interpret Lu Xun literarily, which is different from the distorted image conjured up by the Chinese Communist Party’s deification or Kuomintang’s disparagement of him. It is in this context that we see the real image of Lu Xun as a literary man. On the other hand, the fact that Zhong Li-he drew lessons from Lu Xun literature explained that Lu Xun or the Chinese literature did exercise influence on the development of the literature of Taiwan, which objectively testified to the fact that openness was a characteristic of the literature of Taiwan.

本文以近年來日益普及的實況直播為主題，從研究者自身的遊戲實況使用經驗出發，希望從宏觀的角度去理解：實況直播此一新興媒介技術是如何被人們所使用、其傳播的內容與形式又有何特性及意義。 　　基於上述問題意識，本文主要引介三個理論概念：Huizinga的遊戲人、Bakhtin的狂歡化以及McLuhan媒介即訊息的概念，試圖藉由前二者的理論來分析實況直播作為一群眾參與媒介互動場域的特性，並進一步延伸McLuhan的媒介觀點，以探看實況媒介技術在當代的實存意涵。 　　由於現今實況類型與平台相當多元，本文選擇以研究者本身最為熟悉的遊戲實況平台Twitch.tv為分析場域，並同時使用網路民族誌與深度訪談法二種方法來進行資料蒐集。本研究發現，聊天室或訂閱贊助的回應功能強化了觀眾作為「參與者」的地位，而實況也成為一個眾人共同參與、玩耍(Play)的暫時性媒介場域。本研究也指出，聊天室時常出現的洗頻現象其實是一種群眾的集體起鬨過程，而群眾的言談行動之間也充滿日常生活所不容見的、狂歡化的性質與氛圍，人們並藉此解放日常生活的限制與壓力。 　　此種隨時隨地且即時發生的「媒介狂歡」其實代表著，透過參與實況媒介，人們得以隨意地在集體連結與個體自由之間來回，這不僅是如同黃厚銘與林意仁（2013）所描繪的「流動的群聚」，更是呼應了McLuhan所預言的「再部落化」的意涵，人們宛如重返部落時代的集體參與、互動的即時現場，而此種變革更可能重塑人類的感官經驗、社交生活乃至存有本質。 / Inspired from researcher’s experience of using live streaming media, this study aimed to understand the usage of this new media technique, what characteristics it shows and what significance it implies. Based on the goals above, three main theories were referenced, including Johan Huizinga’s “Homo Ludens”, Mikhail Bakhtin’s “Carnival” and Marshall McLuhan’s concepts about media technology. Researcher analyzed the characteristic of live streaming media as an interactive field based on the first two theories mentioned, and further discussed the meanings and influences of live streaming media with McLuhan’s theory of media viewpoint. This study chose twitch.tv to be the field of analysis because researcher is familiar with it the most and took Netnography and In-Depth Interview as research methods. The result of this study indicated that the reply functions on streaming platform allow audience to participate, making the streaming media as a temporary interactive field where audiences can interact and play with others. Moreover, when a live streaming is on, the unceasing comment spamming phenomenon by users in chat room can be explained as the crowd at a Carnival, which is unusual and inappropriate in daily life. Therefore, users can release the pressure in their everyday lives. Such Carnival form of live streaming media indicated that people are free to move back and forth between collective connection and personal space, which is not only similar to the concept of “mob-lity” proposed by Huang & Lin(2013), but also embodied McLuhan’s idea of “re-tribalize”. The participation and interaction among streaming media users may reconstruct the sensation and nature of the human beings.

京都大学 / 0048 / 新制・課程博士 / 博士(人間・環境学) / 甲第19940号 / 人博第792号 / 新制||人||191(附属図書館) / 28||人博||792(吉田南総合図書館) / 33026 / 京都大学大学院人間・環境学研究科共生文明学専攻 / (主査)教授 江田 憲治, 教授 前川 玲子, 教授 小島 泰雄 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM

從亞里斯多德問題，團體就成為學者研究的焦點之一。歷來有關利益團體的研究即備 受爭議，特別是在利益團體的源起部分，學說層出不窮，至今仍未有定論。公益性團 體的興起，更使得團體理論愈加複雜。 近年來，我國政治情勢及社會環境的變遷，人們參與團體活動的趨勢有增無減，特別 是一些新興的公益性團體，除了消費者文教基金會，另外最惹人注目的該是一些以環 境保護為訴求反公害團體了。我們所感興趣的是，用什麼理論來解釋這些團體的發展 呢？ 本文企圖由複雜的團體理論分析中，歸納出一個適合解釋反污染團體源起及維持的分 析架構，並以彰化縣公害妨治協會為個案分析對象，希望獲得一個初步的了解。 全文共分五章，計六萬餘言。 第一章緒論部分，將就本文的研究目的、研究方法、名詞界定分別闡述。 第二章理論探討，抱括杜魯門（David Truman），奧爾森（Mancur Olscn），哈定（ Russell hardin），薩利伯瑞（Rcbert H．Salisbury ）等人的理論要點闡述，並就 各項之優劣點予以評估而提出本文之研究架構。 第三章源起分析，就整體社會變遷、政治企業家，約定俗成及道德理性等因素探討彰 化縣公害防治協會的源起。 第四章維持分析，就組織目標、向心力、資源等方面探討彰化縣公害防治協會的維持 狀況。 第五章結論。檢討及建議。

在《摩爾人的最後嘆息》中，魯西迪藉由虛實交錯的敘事呈現繁複混雜的羊皮紙式的歷史書寫：層層俱現也層層剝除，在不斷越界的同時一方面也暗示代表答案的核心永遠到不了的事實，也描繪出印度多元種族並存的歷史地景。本論文擬以華特．班雅明的翻譯理論之觀點逐章剖析小說中不同的翻譯借喻(tropes of translation)。班雅明的翻譯理論不同於傳統重視意義的翻譯理論，其立論中心在於以直譯的思維來否定二元對立、相互取代的尋常認知模式以彰顯翻譯事實上不屬於原文亦不屬於譯文。換言之，其立論精神在於強調語言不只是訊息的傳遞，因為過度強調意義的地位時，就有過度為譯入方或譯出方服務的傾向出現。置放於後殖民情境中時，以翻譯的門檻位置檢視殖民者與被殖民者的關係於是有擺脫符號的固有組合方式，展現原屬被大寫歷史壓抑、無法言傳的部份之功用在。 第一章以魯西迪的寫作脈落背景與班雅明的翻譯理論結合作出發點來闡釋班雅明翻譯理論的中心思想如何與魯西迪的寫作主題切合。此外並介紹班雅明的翻譯理論的多種理論性面向，探討其理論如何以實現屬於先驗(transcendental)層次的純粹語言為目標來彰顯其於下層的啟迪並以此為目標帶來新意、跨越人世間的扭曲疆界。 第二章以剖析魯西迪在其作品中亟欲破除的疆界迷思為出發點來與翻譯理論的中介性(liminality)與內在性(immanence)作連結並進一步以此連結觀照小說中各個翻譯借喻。第一部份將以中介性為主題，論述魯西迪在敘事過程中以嘲諷二元對立的虛假不實來表達反詮釋、工具化的訴求。他巧妙地運用史實與神話並置的敘事來嘲諷以接續、回溯為目的之傳統史觀的虛妄不實。本部份將配合萊布尼茲的無窗單子概念將翻譯理論應用於閱讀女主角歐蘿拉的童年啟迪經驗及其畫作。第二部份進一步申論隱藏在此敘事之下的則是一個反詮釋、反工具化的超人類經驗概念，此部分將以內在性為主題，以班雅明理體架構中對先驗層次的討論來進一步探討跨越二元對立的界限後，追求主客體經驗怯除的可能境界及連結。 第三章將進一步擴大以無窗單子閱讀翻譯理論，以探討翻譯理論中一與多的本質為主題來檢視小說中一與多的關係。一般咸認為「多」是讚揚多文化混雜主義的不二法門。多數與少數、明與暗、純與雜以至於不同族群間的關係在先驗上並非處於相互對立的靜止認知架構，而是一場不斷進行流動的分與合的過程。因此最適合觀照此過程的是一種動態式的概念。班雅明在其翻譯理論中以「切線輕觸圓周」的明喻強調語言親屬架構中分屬不同表意模式的語言在如切線般輕觸代表純粹語言的圓周後，一瞬間參透奧秘而繼續往前發展正是表達了無窗單子中一與多的思維體系。 / In The Moor’s Last Sigh, Rushdie presents a narrative of juxtaposition of history, myth and family saga in a palimpsest fashion, in which layers of vision imbricate upon each other. Reiterating the permeability of the borderline, the vision of palimpsest in fact emphasizes the crossing of the border and also intimates the impossibility of obtaining a final answer. In this thesis, I use Walter Benjamin’s translation theory to probe into the tropes of translation of the novel in the sense of border crossing. The first chapter begins with the concept of human defectiveness shared by Rushdie and Benjamin, focusing on the theme of digression of Rushdie’s narrative style and that of Benjamin’s theoretical methodology, which is also the axis among his broad theoretical framework. Benjamin’s translation theory is different from the traditional ones in its emphasis on literal translation rather than on free translation. Free translation in the service of meaning could not communicate essence through translation, for the meaning communicated between tool languages is void in its nature. The conception of the use of languages as substitution between signs are inessential, because such activity of substitution remains within the barrier of the multiplied tool languages, which generally forms the problematic of regression in Benjamin’s translation theory. Tropes of translation, in the light of Benjamin, manifest the act of border crossing from a lower level of human to a higher level of high purposiveness. Chapter two centers on the theme of binary oppositions of the novel. By the discussion of binary oppositions epitomized as theses and faeces as borderline, I aim to elaborate on the aspect of anti-utilitarianism of Rushdie’s narrative. I argue that under that theme of binary opposition and a deferring narrative, which points to an ultimate answer but always turns out to be disillusion, Rushdie intimates something beyond the limit of human experience. I will view this aspect of novel in the vein of Benjamin’s essay “On the Program of the Coming Philosophy.” What Benjamin anticipates in the essay is thus a new philosophy stripped of the episteme of subject-object. Rushdie does portrait few of such superhuman scenes in the novel like the deracination fantasies, the unconscious act resulted from his non-communalism background and the world of fancy. Through these descriptions, what Rushdie pursues is apparent the indefinable and the provisional that is stripped of the confinement of binary opposition and utilitarianist idea because binary oppositions and utilitarianist are two significant factors forming the authenticity myth that he consistently criticizes. Furthermore, if Benjamin regards the idea of using the reason freely as falsehood, the concept of freedom also accordingly becomes another problematic, just as he repudiates the function of free translation in his translation theory because its emphasis on the exchange of meaning is confined in the human-fabricated and distorted barrier. Rushdie also shows a strong disbelief in the self-claimed and definitive authentic myth, which he implies as theses. In other words, it is the artificiality that they both criticize. Thus I argue that the concept of Rushdie’s literary critique of the idea of authenticity formulates very similarly to Benjamin’s philosophical critique of freedom. The issue of the definitive theses and the provisional possibility of the faeces thus lead to the last part of discussion in my thesis – the relationship between One and Many. The last chapter probes into the relationship between One and Many to conclude the dynamic image of Benjamin’s translation theory. The One as pure language does not produce or subsume the particular modes of intention as Many. It does not keep a causal relationship with them because it belongs to the high purposiveness, which can only be manifested through the intentions of all single functions. And unlike the definitive theses which seek to marginalize or replace the others, the One as an absent presence harmonizes Many simply by its absent presence. Because of such special relationship, the retaining of the presence of the One seems to be rendered redundant. Nonethelss, it must be emphasized that the particular modes of intentions as Many cannot be examined without the term of the One, because, speaking in the context of translation, every time of the act of translation recalls to the One as pure language, which is also the presence that makes this very act necessary and possible. Through the delineation of the relationship between One and Many, what is to be mapped out is the presence of essence in the special relation. In the novel Rushdie does the same thing with the play of the idea of binary opposition and an experimental narrative that seeks to subvert the status of traditional history, leaving the problem of genuineness for the reader to decide, and sometimes beyond the matrix of human experience. The absent present One that is not fully describe symbolizes the simultaneous superimposition and effacement of the palimpsest vision. What the reader can do is to choose their own idea among the multiplicity that Rushdie throws in the face of their interpreting desire. It is also this multiplicity which lets in the provisional truth that the reader seeks and expands the frontier of possibility that is not to be institutionalized by any institutionalizing ideology.