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Early in Richard Wright's Native Son, we see Bigger and his friend Gus “playing white.” Taking on the role of “J. P. Morgan,” the two young black men give orders and act powerful, thus performing their perceived role of whiteness. This scene is more than an ironic comment on the characters' distance from the lifestyle of the J. P. Morgans of the world; their acts of whiteness are a representation of how whiteness is constructed. Such an analysis is similar to my own focus in this dissertation. I argue that whiteness is a culturally constructed identity and that work serves as a performative space for defining and transgressing whiteness. To this end, I examine work and its influence on the performance of middle class and working class whiteness, as well as how those outside the definitions of whiteness attempt to “play white,” as Bigger does. Work enables me to explore the codes of whiteness and how they are performed, understood, and transgressed by providing a locus of cultural performance. Furthermore, by looking at novels written in the early twentieth century, I am able to analyze characters at a historical moment in which work was of great import. With the labor movement at its peak, these novels, particularly those which specifically address socialism, participate in an understanding of work as a performative act more than a means to end. Within the context of this history and using the language of whiteness studies, I look at how gendered whiteness is transgressed and reinforced through the inverted job-roles of the Knapps in Dorothy Canfield's The Home-Maker, how work can cause those who possess the physical attributes of whiteness to transgress this cultural identity, as the Joads in The Grapes of Wrath demonstrate, and how the ascribed identities as non-white for Sara in The Bread Givers, Jurgis in The Jungle, and Bigger in Native Son are by far more compelling than their performative acts.

Most primitive mythologies recognize that suffering can provide an opportunity for growth, but Western man has developed a mythology in which suffering is considered evil. He conceives of some power in the universe which will oppose evil and abolish it for him; God, and more recently science an, technology, were the hoped-for saviors that would rescue him. Both have been disappointing as saviors, and Western culture seems paralyzed by its confrontation with a future which seems death-filled. The primitive conception of death as that through which one passes in initiatory suffering has been unavailable because the mythologies in which it was framed are outdated. However, some post-World-War-II novels are reflecting a new mythology which recognizes the threat of death as the terrifying face the universe shows during initiation. A few of these novels tap deep psychological sources from which mythical images traditionally come and reflect the necessity of the passage through the hell of initiation without hope of a savior. One of the best of these is Wright Morris's The Field of Vision, in which the Scanlon story is a central statement of the mythological ground ahead. This gripping tale uses the pioneer journey west to tell of the mysterious passage the unconscious can make through the ccntempoorary desert to win the bride of life. It serves as an illuminator and normative guide for evaluating how other novels avoid or confront the initiatory hell. By the Scanlon standard, some contemporary mythology is escapist. Robert Heinlein's Stranger in a Strange Land and Kurt Vonnegut, Jr.'s Cat's Cradle express the youthful desire to arrive almost automatically at a new age, either with help from a new Christ or through practicing a simplistic morality. Other novels tell of the agony of modern Grail questers who sense that a viable myth is possible, but cannot completely envision it nor accomplish the passage through the void to gain it. The hindrances in each case are powerful forces which exert control over society. These forces are scientific objectivity and racism in Ralph Ellison's Invisible Man, and an unbeatable Combine which forces people to be rabbits and like it in Ken Kesey's One Flew Over the Cuckoo's Nest. Thomas Pynchon's The Cring of Lot 49 makes clear thet the confining forces are sustained because the secret of life has been lost, and man needs protection from the void which he cannot face without the secret. Saul Bellow deals directly with mythologies in Mr. Sammler's Planet. On the one hand is the popular view which ignores what every man knows is right and asserts instead that whatever one wants, he should have. This view replaces the archetypal sustaining images with a myth of continuous progress which, now that progress has faltered, makes living seem overwhelmingly hopeless. However, Sammler believes that meaning is established in life even as it collapses. The good man is part of an elite which is unusually intelligent and discerning, able to develop the will to carry out the contract with life and to enjoy the mystic potency in living. The novels in this study indicate a trend toward a reformulation of the basic mythological structures of Western man. Possibly the belief is weakening that something from somewhere will save him from his given situation, and a mythology is emerging which tells of significant life in the common, discovered through an awareness of the archetypal consciousness.

This study is an inquiry into the relationship between the contemporary American writer's understanding of American reality and his attempt to convey this reality by the use of an insane first-person point of view character. The purpose of this paper is to demonstrate that the insane narrator's point of view not only recreates the feeling of absurdity through the disjointed point of view of the madman, but also points to the absurdity in contemporary American life. The first part of this study analyzes the narrators in Henderson the Rain King, The Bell Jar, and Lancelot. The second part uses A Fan's Notes, One Flew Over the Cuckoo's Nest, and Breakfast of Champions to discuss the problems that arise from the use of an insane narrator.

This thesis serves to classify Black Humor as a philosophy, which holds that the world is meaningless and absurd, and as a literary technique. Historical origins are discussed and the idea is related to a reflection of the middle-class syndrome of twentieth century man. Close philosophical and literary relatives are presented and a pure work isn't defined. Black Humor literary characteristics are described in terms of style, theme, plot, setting, chronology, and characteristic ending. Black Humor characters are classified as "non-heroes" divided into four categories. Prevalent use and treatment of traditional forbidden subjects of sex, defecation, money, violence, emotionlessness, religion, death, and "illogical" logic are stressed. In summary, Cat's Cradle is examined in light of the Black Humor characteristics described and found to be other than a pure Black Humor work.

Orientador: Rubens Pereira dos Santos / Banca: Marcio Roberto Pereira / Banca: Luciana Brito / Resumo: Álvaro Lins (1912-1970) por meio de sua crítica-jornalística, desenvolveu um trabalho em que, num primeiro momento, se restringiu mais à biografia e à psicologia dos escritores. Mais tarde, ele procura se libertar da tendência de teor impressionista, passando a adotar um caráter científico para a crítica literária. Desse modo, almeja-se nesse trabalho abordá-lo enquanto leitor de Graciliano Ramos (1892-1953); para tanto, tem-se com fulcro de análise os três ensaios escritos sobre ficção do escritor alagoano que estão compilados no posfácio de Vidas Secas (Valores e Misérias das Vidas Secas): I - Graciliano Ramos em termos de construção do romance e arte do estilo; II - As "memórias" do romancista explicam a natureza e a espécie dos seus romances; III - Romances, novelas e contos: visão em bloco de uma obra de ficcionista. Intenta-se assim estabelecer um breve delineamento dos procedimentos temáticos e formais evocados pelo crítico pernambucano sobre a prosa do romancista brasileiro, além de levar em conta que ele foi um dos pioneiros na sua recepção, acompanhado seu percurso, de modo que contribuiu para a sua consagração em nossas letras / Abstract: Álvaro Lins (1912-1970) through his critical-journalistic, developed a work that, in the first moment, was restricted more to the biography and psychology of writers. Later, he tries to break free of Impressionism content trend, adopting a scientific character for book review. Thus, we aim in this work approach it as reader of Graciliano Ramos (1892-1953); to this end, has been with analysis fulcrum three written tests on about fiction of Brazilian writer that are compiled in the afterword of Barren Lives (Values and Miseries of Barren Lives): I - Graciliano Ramos in terms of construction of the novel and style art; II - "Memories" of the novelist explain the nature and kind of his novels; III - Novels, novellas and short stories: vision block of a work of fiction writer. Thus intends to establish a brief outline of the thematic and formal procedures referred by Brazilian reviewer about the prose of the Brazilian novelist, and take into account that he was a pioneer in its reception, accompanied your route so that contributed to their consecration in our literature / Mestre

鍾禮珍. / 稿本(據電腦打印本複印) / Thesis (M.Phil.)--香港中文大學新聞與傳播學部, 1989. / Gao ben (ju dian nao da yin ben fu yin) / Includes bibliographical references (leaves 143-150). / Zhong Lizhen. / Thesis (M.Phil.)--Xianggang Zhong wen da xue xin wen yu chuan bo xue bu, 1989. / Chapter 第一章 --- 緒論 --- p.1-35 / Chapter 1.1 --- 中國為什麼對文藝如此敏感 --- p.1 / Chapter 1.2 --- 文藝是意識形態改造的必要工具 --- p.3 / Chapter 1.3 --- 有關中共文藝傳播的研究結果 --- p.6 / Chapter 1.4 --- 例外中見常規 --- p.22 / 註釋 --- p.30 / Chapter 第二章 --- 中共的文藝傳播觀 --- p.36-62 / Chapter 2.1 --- 毛澤東的文藝思想 --- p.36 / Chapter 2.2 --- 首三次文代會與文藝批判事件 --- p.41 / Chapter 2.3 --- 文化大革命與文藝創作 --- p.53 / 註釋 --- p.59 / Chapter 第三章 --- 近十年來的文藝面貌 --- p.63-86 / Chapter 3.1 --- 「新時期」的政治社會形勢 --- p.63 / Chapter 3.2 --- 「新時期」的文藝面貌 --- p.70 / 註釋 --- p.84 / Chapter 第四章 --- 近十年來「具爭論性」文藝作品分析 --- p.87-119 / Chapter 4.1 --- 研究對象 --- p.87 / Chapter 4.2 --- 研究方法 --- p.93 / Chapter 4.3 --- 內容簡介 --- p.95 / Chapter 4.4 --- 內容分析 --- p.110 / 註釋 --- p.119 / Chapter 第五章 --- 結論 --- p.120-138 / Chapter 5.1 --- 「新時期」文藝政策的常規 --- p.120 / Chapter 5.2 --- 爭論性文藝作品展現出的社會狀況 --- p.124 / Chapter 5.3 --- 常規下的限制 --- p.129 / Chapter 5.4 --- 討論與建議 --- p.134 / 註釋 --- p.138 / 附錄一 --- p.139 / 附錄二 --- p.141 / 參攷書目 --- p.143-150

by Lo Man-wa. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 87-102). / Chapter Chapter One --- Female Initiation in Comparative Perspectives --- p.1 / Chapter Chapter Two --- Rebellion Against Conventional Womanhood: Katherine Anne Porter and Virginia Woolf --- p.11 / Chapter Chapter Three --- Womanhood Redefined: Shen Congwen and Ding Ling --- p.34 / Chapter Chapter Four --- Contemporary Chinese Feminist Writers --- p.66 / Chapter Chapter Five --- Chinese Female Subjectivity Reconsidered --- p.77 / Notes --- p.84 / Works Cited --- p.87

by Mi Jia-Yan. / Thesis (Ph.D.)--Chinese University of Hong Kong, 1996. / Includes bibliographical references (leaves 258-272). / Poems in Original Chinese. / Title Page --- p.i / Abstract --- p.ii / Acknowledgments --- p.iv / Editorial Note --- p.v / Table of Contents --- p.vi / Introduction --- p.1 / Chapter One --- "The Dialectic of Progressive Body: Self, Cosmos and New National Identity in Guo Moruo's The Goddesses" --- p.16 / Chapter I. --- Sources of Influence: Emergence of a Modern Body --- p.19 / Chapter II. --- The Instinctual Body as Creation of Progressive Self --- p.32 / Chapter III. --- The Metaphorical Body as Transfiguration of Cosmic Self --- p.50 / Chapter IV. --- The Passionate Body as Sacrifice for New National Identity --- p.61 / Summary --- p.71 / Notes --- p.73 / Chapter Two --- The Decadent Body: Toward a Negative Ethics of Mourningin Li Jinfa --- p.82 / Chapter I. --- Economy of Somatic Decadence --- p.87 / Chapter II. --- Aesthetics of Counter-Enlightenment --- p.100 / Chapter III. --- Narrative of Reflection: A Profane Illumination --- p.117 / Chapter IV. --- Toward a Negative Ethics of Mourning --- p.134 / Summary --- p.142 / Notes --- p.144 / Chapter Three --- The Narcissistic Body: Mnemonic Aura and Fragments of Modernity in Dai Wangshu --- p.148 / Chapter I. --- Modernity of Trivia and Fragments --- p.154 / Chapter II. --- The Memory Narrative: A New Syntax of Self-Reconstruction --- p.165 / Chapter III. --- The Tropics of Body Memory --- p.182 / Chapter IV. --- The Floral and the Feminine: Gift of the Senses --- p.191 / Chapter V. --- The Narcissistic Body: Toward an analytics of the Self --- p.221 / Summary --- p.231 / Notes --- p.233 / "Conclusion Modernity, Self-fashioning and the Will to Maturity" --- p.240 / Bibliography --- p.258 / Appendix --- p.273

一九七六年，隨著毛澤東逝世和「四人幫」倒台，中國共産黨在一九七七年宣布歷時十年的「文化大革命」正式結束，標誌了中華人民共和國後毛澤東時期開始。政治上，中國共產黨中央委員會放棄了過去以階級鬥爭和群衆運動爲主導的治國方針，將工作重點放在經濟建設上。對於向來和政治關係密切的中國文學界而言，「文革」的結束意味著官方意識形態高度干預文學創作的時期正式告終，「新時期文學」的發生乃二十世紀中國文學繼五四運動以後的另一次重大轉折。 / 後毛澤東時期的中國文學主題紛陳多樣，絶非三言兩語所能概括。不過，對共和國歷史進程的重現及反思可謂始終貫串於當代小說的主題。按照馬克思唯物史觀之觀點和毛澤東的詮釋，中國在革命成功後將會由「一窮二白」的國家，逐步邁向「各盡所能，按需分配」的「共産主義烏托邦」；然而爲了儘早實現共産主義而發動的各種「烏托邦運動」卻導致動亂與災難。歷史在「應該如何發生」與「實際如何發生」之間産生了巨大的落差，既吞噬了無數擁抱革命的生靈，亦叫生者留下難以磨滅的傷痛。在各種以歷史進程爲反思對象的小說中，有一個面向經常被文學史家忽略。這些小說以烏托邦書寫的文學形式，透過文字來虛構各種烏托邦（更多時候是惡托邦），表達了作家對晚清以來中國追求理想社會的歷史回顧，對烏托邦運動的本質深入省思，甚或設想中國歷史發展的另類可能出路；此類作品在後毛澤東時期的小說版圖中別樹一幟。本文旨在深入考察具有烏托邦書寫特徵的中國大陸當代小說，讓這個面向重新進入文學史家的視野。 / 本文共分六章。第一章緒論部分，介紹本文的研究背景及烏托邦的意涵，簡述其在中西方的歷程，然後解說烏托邦書寫的定義；進而回顧前人研究，闡釋本文研究目的、意義、範圍及方法。第二章至第五章爲本文核心部分，引入相關文學及文化理論，探討後毛澤東時期中國大陸小說烏托邦書寫的各種表現。第二章討論莫應豐《桃源夢》的惡托邦書寫，分析小說怎樣敷演一場從烏托邦追求而起，以惡托邦告終的悲劇，考察它如何達成批判儒家「大同」社會烏托邦及「文革」烏托邦運動的雙重目的，並如何回應了一九八零年代中國小說所關懷的主題。第三章分析李佩甫《羊的門》，探討李佩甫如何在文學主題多元的一九九零年代，以烏托邦書寫思考在共和國的歷史進程中，農村的烏托邦之路應該怎樣走；以及他對中國前途存在的困惑。第四章探討閻連科《受活》，這部在新世紀備受關注的小說不單呈現了烏托邦和樂園之間的角力，同時展示了閻連科的反烏托邦立場，批評了在後毛澤東時期仍然深具影響力的革命意識形態。第五章對格非在新世紀推出的「烏托邦三部曲」進行整體性探討，分析當中的反烏托邦書寫策略，以及小說如何呈現後毛澤東時期那種充斥虛無主義和享樂主義的「後烏托邦狀態」，亦會兼及格非如何看待各種烏托邦運動下的個體聲音。第六章為總結，綜合前文所論，指出後毛澤東時期中國大陸小說如何以烏托邦書寫來反思歷史，同時在烏托邦追求與反烏托邦立場之間擺盪。最後，本文藉香港作家陳冠中《盛世》為例，說明關心中國社會何去何從的作家早已不限於中國大陸作家。由此可見，關於中國的烏托邦書寫將會是一個持續進行的文學議題。 / In 1976, Mao Zedong died and the ‘Gang of Four’ went down. These events brought down the curtain on the Cultural Revolution, which had spanned 10 years from 1966 to 1976, as declared officially by the Communist Party of China in 1977, and inaugurated the Post-Mao era of the People’s Republic of China. Politically, the Central Committee of the Communist Party of China started to focus its agenda on economic development, forgoing its former ruling policies upholding class struggle and mass movement. Since Chinese literature has always borne close ties with national politics, the end of the Cultural Revolution also implied the phasing out of government’s iron-handed intervention in literary writings. The rise of “Literature of the New Era (Xinshiqi wenxue) in the ensuing years has been another important turning point for twentieth-century Chinese literature since the May Fourth Movement. / It is hard to summarize in a brief gist the highly prolific and diversified themes of Chinese literature in the Post-Mao era, but a common topic for contemporary fiction has been reflections on the history of the People’s Republic. According to Marxist historical materialism and Mao’s interpretations, after the successful Communsit revolution, China would discard her previous identity as a nation that was “first of all, poor, and secondly, blank and gradually establish herself as a Communist Utopia in which the principle of “from each according to his ability, to each according to his needs would be applied. Unfortunately, the countless utopian movements initiated with a view to realizing communism as early as possible brought nothing but havoc and catastrophes. The huge chasm between how history “should take place and “had taken place annihilated innumerable souls who had chanted for revolution and left permanent scars to the survivors. Literary critics have often overlooked one perspective when analyzing this stream of fictions that reflect upon history. These works adopt a literary form of “utopian writing and construct different utopias (or dystopias in a lot of cases) so as to provide a historical review of the idealistic societies pursued in China since late-Qing and to conduct a deep evaluation of and reflection on the nature of utopian movements. They may even postulate possible alternative ways out for the historical development of China. These works stand out on the fiction landscape of the Post-Mao era. This thesis aims to conduct a thorough and in-depth examination of contemporary Chinese works of fiction featuring utopian writing and highlight their importance for literary critics and historians. / The thesis is divided into six chapters. Chapter 1 is the introduction. It outlines the research background of the thesis and explains the meaning of utopia. It also describes the development of the notion of utopia in Chinese and Western cultures and defines what utopian writing refers to in the study. The chapter then provides a literature review and describes the objectives, values, scope and methodology of the current research. Chapters 2 to 5 are the core discussion of the thesis, in which relevant literary works and literary/cultural theories are used for exploration and examination of the characteristics of utorian writing as displayed in Post-Mao Chinese fictions. Chapter 2 focuses on the dystopian writing in Mo Ying-feng’s Peach Blossom Spring (Taoyuan Meng). It analyzes the tragedy of how the pursuit of utopia ends up with the creation of a dystopia in the fiction, examining how the fiction criticizes the Confucian “Great Commonwealth and the utopian movements in the Cultural Revolution at the same time, and how the work responds to the themes in Chinese fictions of the 1980s. Chapter 3 examines Li Peifu’s Gate for the Sheep (Yang de Men). It explores how Li adopts the form of utopian writing to reflect on the possible ways leading to utopia for rural China along the historical development of the People’s Republic in the 1990s, when literary themes had grown diversified. It also discusses his frustrations about the future of China. Chapter 4 looks into Yan Lianke’s Enjoyment (Shouhuo). This highly notable fiction published in the new century does not only depict the tension between utopia and paradise, but also illustrates Yan’s anti-utopia sentiments and criticizes the deeply-rooted and influential ideology of revolution in the Post-Mao era. Chapter 5 provides a comprehensive review on Gefei’s “Trilogy of Utopia published in the new century. It analyzes its writing strategies and how it portrays the post-utopian situation in the Post-Mao era rife with nihilism and hedonism. The chapter alsodiscusses how Gefei represents individual voices amid the chaos of various utopian movements. Chapter 6 concludes the discussions in the thesis and points out how Post-Mao Chinese fictions adopt utopian writing to reflect on history and how they are torn between the pro- and anti-utopia sentiments. Finally, the thesis uses Hong Kong writer Chen Guanzhong’s The Fat Years (Shengshi) as an example to illustrate the point that concerns over the future of China have never been exclusive for writers from the Chinese Mainland. Therefore, it is believed that utopian writing about China will be an on-going literary issue in the recent future. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 鄒文律. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 215-226) / Abstracts in Chinese and English. / Zou Wenlü. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 研究背景 --- p.1 / Chapter 第二節 --- 何謂烏托邦？ --- p.3 / Chapter 一 --- 烏托邦的詞義 --- p.3 / Chapter 二 --- 烏托邦的三個釋義層面 --- p.4 / Chapter 三 --- 對烏托邦的反撥──惡托邦與反烏托邦 --- p.10 / Chapter 第三節 --- 中西方烏托邦觀念的演變歷程概述 --- p.12 / Chapter 一 --- 西方烏托邦觀念演變歷程 --- p.12 / Chapter 二 --- 烏托邦觀念進入中國以後 --- p.16 / Chapter 第四節 --- 烏托邦書寫的意涵 --- p.19 / Chapter 第五節 --- 文獻回顧 --- p.21 / Chapter 第六節 --- 研究目的和意義 --- p.24 / Chapter 第七節 --- 研究範圍和方法 --- p.27 / Chapter 第二章 --- 對儒家「大同」社會烏托邦與「文革」烏托邦運動的雙重批判--莫應豐《桃源夢》 --- p.31 / Chapter 第一節 --- 《桃源夢》與一九八零年代中國文學的「傳統文化批判」 --- p.31 / Chapter 第二節 --- 「天外天」的烏托邦理想：「大同」社會 --- p.37 / Chapter 第三節 --- 龍居正的烏托邦領袖形象 --- p.41 / Chapter 第四節 --- 《桃源夢》的惡托邦書寫策略：「善道」的不可行和不可取 --- p.45 / Chapter 一 --- 創建和維持烏托邦的力量--「善道」 --- p.46 / Chapter 二 --- 《桃源夢》的反烏托邦底蘊--「善道」的不可行與不可取 --- p.47 / Chapter 三 --- 對「善道」與「文革」烏托邦運動的雙重批判 --- p.53 / Chapter 第五節 --- 《桃源夢》對中國文化「深層結構」的批判 --- p.55 / Chapter 一 --- 儒家對「人」的設計及其內在缺陷 --- p.55 / Chapter 二 --- 對儒家聖君治國理想的質疑 --- p.62 / Chapter 第六節 --- 小結 --- p.66 / Chapter 第三章 --- 毛式烏托邦主義的顯影--李佩甫《羊的門》 --- p.69 / Chapter 第一節 --- 《羊的門》與一九九零年代中國文學的「無名」時代 --- p.69 / Chapter 第二節 --- 豫中平原上盛開的紅花--「呼家堡」的形象分析 --- p.72 / Chapter 一 --- 「呼家堡」與烏托邦 --- p.72 / Chapter 二 --- 「呼家堡」與毛式烏托邦主義 --- p.75 / Chapter 三 --- 「新集體主義」與「呼家堡」 --- p.83 / Chapter 第三節 --- 「我就是羊的門」--「呼家堡」的領袖與民眾 --- p.84 / Chapter 一 --- 呼天成的領袖形象 --- p.87 / Chapter 二 --- 「羊的門」與羊--「救世主」與「被拯救者」 --- p.97 / Chapter 第四節 --- 《羊的門》的烏托邦書寫之價值--以另一種歷史出路來批判社會 --- p.100 / Chapter 第五節 --- 小結 --- p.103 / Chapter 第四章 --- 烏托邦與樂園的角力--閻連科《受活》 --- p.106 / Chapter 第一節 --- 徘徊於樂園與烏托邦之間的「受活莊」 --- p.109 / Chapter 一 --- 「受活莊」的樂園圖景：「至德之世」 --- p.109 / Chapter 二 --- 追逐「共產主義烏托邦」：從「集體富強」到「各取所需」 --- p.113 / Chapter 第二節 --- 兩個時代的烏托邦領袖 --- p.118 / Chapter 一 --- 卡理斯瑪領袖與卡理斯瑪支配 --- p.118 / Chapter 二 --- 從「入社」到「退社」--茅枝的政治主體認同與拒絶 --- p.120 / Chapter 三 --- 自戀的瘋子--「革命之子」柳鷹雀 --- p.124 / Chapter 第三節 --- 《受活》的反烏托邦姿態──從「共產主義烏托邦」後撤到「至德之世」 --- p.131 / Chapter 一 --- 對毛主義的顛覆 --- p.132 / Chapter 二 --- 對後毛時期「集體一朝致富」的批判 --- p.135 / Chapter 三 --- 歸隱到「至德之世」 --- p.141 / Chapter 第四節 --- 小結 --- p.143 / Chapter 第五章 --- 中國百年烏托邦之夢--格非「烏托邦三部曲」 --- p.145 / Chapter 第一節 --- 「花家舍」--從烏托邦到銷金窟 --- p.146 / Chapter 一 --- 儒家「大同」社會烏托邦--《人面桃花》的「花家舍」 --- p.147 / Chapter 二 --- 「共產主義烏托邦」--《山河入夢》的「花家舍人民公社」 --- p.150 / Chapter 三 --- 銷金窟--《春盡江南》的「花家舍」 --- p.154 / Chapter 第二節 --- 「烏托邦三部曲」的反烏托邦書寫策略 --- p.158 / Chapter 一 --- 《人面桃花》對於「烏托邦預設」的質疑 --- p.159 / Chapter 二 --- 《山河入夢》對於烏托邦的極權主義社會本質之批判 --- p.169 / Chapter 第三節 --- 「後烏托邦狀況」--從烏托邦主義到虛無主義、享樂主義 --- p.182 / Chapter 第四節 --- 烏托邦追求下的個體聲音 --- p.189 / Chapter 第五節 --- 小結 --- p.203 / Chapter 第六章 --- 結論 --- p.205 / Chapter 第一節 --- 小說呈現的烏托邦理想價值及其反烏托邦立場 --- p.206 / Chapter 第二節 --- 毛式烏托邦主義的遺產--後毛時期個別地區的烏托邦實踐 --- p.207 / Chapter 第三節 --- 烏托邦領袖 --- p.208 / Chapter 第四節 --- 烏托邦籠罩下的「個體」聲音 --- p.210 / Chapter 餘論 --- 後毛時期香港作家的烏托邦書寫--陳冠中《盛世》 --- p.210 / 徵引文獻 --- p.215