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.

本篇論文主要呈現非裔劇作家奧古斯特˙威爾森在《鋼琴課》劇中，如何藉由書寫黑人經驗來解構被白人扭曲的黑人歷史，從而建構真實的黑人歷史。威爾森在此劇中透過三個重要的議題：黑人的遷徙、奴隸制度、以及藍調，來探究舊有的和新開發的黑人認同。為了進一步說明劇作家在黑人主體上的看法，史都華˙霍爾（Stuart Hall）的後現代認同觀念便可作為此研究的大前提：主體並不是由個別的、單一的認同所組成，而是同時由數個認同所構成。理論部分，史都華˙霍爾對文化認同與漂泊離散（diaspora）的概念、保羅˙吉爾羅伊（Paul Gilroy）對漂泊離散、奴隸制度、與黑人音樂的闡述、米歇˙傅柯（Michel Foucault）的對抗記憶（counter-memory）與歷史的觀念以及法蘭茲˙法農（Frantz Fanon）的後殖民理論均被運用來閱讀《鋼琴課》這一劇。 本論文共分為五個章節。第一章提供劇作家、劇本、以及理論架構的一般介紹。第二章處理黑人漂泊離散認同（diasporic identity）的議題，而此認同展現於黑人的遷徙經驗上。劇中男主角威利男孩（Boy Willie）最後決定要返回南方的家，他的決心使他有別於待在北方的其他黑人。第三章透過審視鋼琴與鬼的意義與功用，著重在黑人種族認同（racial identity）的討論上。威利男孩與白人鬼的爭鬥突顯威爾森對黑人自主權的重視。第四章探索藍調跟文化認同（cultural identity）的關連性。劇中女主角柏妮斯（Berniece）藉由彈奏鋼琴來召喚祖靈，此不僅幫助她與過去作連結，並使她得到一個正面的自我確認形象。第五章是結論，總結威爾森在此劇中所展現的新的黑人認同。 / This thesis attempts to show how August Wilson deconstructs the white distortion of black history and constructs an authentic black history by writing about the black experience in The Piano Lesson. Wilson explores the old and the new black identities from three significant issues of migration, slavery, and the blues respectively in the play. In order to further explicate the playwright’s arguments on the black subject, Stuart Hall’s idea of postmodern identity serves as a major premise: the subject is composed not of a single, unitary, but of several identities at the same time. Stuart Hall’s idea about cultural identity and diaspora, Paul Gilroy’s elaboration on diaspora, slavery, and black music, Michel Foucault’s theory of counter-memory and the concept of history, and Frantz Fanon’s postcolonial argument are applied to the reading of The Piano Lesson. The thesis consists of five chapters. Chapter One provides a general introduction to the playwright, the play, and the theoretical framework. Chapter Two deals with the issue of black diasporic identity, which is demonstrated in black migration. Boy Willie’s final decision to return home in the South distinguishes him from those who stay in the North. Chapter Three centers on the discussion of black racial identity by scrutinizing the meaning and function of the piano and the ghosts. Boy Willie’s fighting with the white ghost foregrounds Wilson’s concern over black autonomy. Chapter Four explores the relationship between the blues and cultural identity. Berniece’s invocation to her ancestors through playing the piano helps her connect with the past and gain a positive image of self-recognition. Chapter Five is the conclusion which sums up the manifestation of Wilson’s construction of new black identities in the play.