當代英國作家伊恩麥克尤恩的《贖罪》是部揉雜獨特告白形式的小說。小說直到最終章才清楚指出，這不僅是伊恩麥克尤恩描述主角白昂妮贖罪的小說，更是書中主角白昂妮身為一位作家的告白及贖罪手段。游移在虛假與真實的邊界，此書的核心問題在於，小說家的寫作能否彌補現實生活犯下的過錯？而身為讀者的我們，又該如何解讀小說與告白的轉變？ 本文分成四個章節。第一章介紹《贖罪》的相關評論及理論架構。第二章先闡述巴赫汀的對話和複調理論，再剖析小說中的前三部份如何具體呈現這兩種特質，突顯白昂妮藉由多重敘述觀點，瓦解幼年時自我中心傾向並開啟與他者的對話。第三章聚焦於小說架構的告白轉折。長久以來，告白被視為一種賦予解放和完整自我的力量，傅柯則提出現代社會下的告白演變為自我規訓的機制。以傅柯的觀點來解讀小說結尾，白昂妮的告白在自我解放與治癒的表層下，其實隱含了快感和權力的螺旋結構，對真實及作者身份的延宕意味著她身為小說家權力的回歸。 / Ian McEwan's Atonement is a novel experimentally weaved with a peculiar confessional form. Not until the last part of the novel are readers informed the framed narrative structure: this is not merely McEwan's novel which depicts the heroine Briony's atonement, but more importantly, the grown-up novelist Briony's own confession crafted as a novel to make amends. This complicates our reading in retrospect as the ending reveals the central dilemma: how to judge the novelist's privilege to use confession to atone for the fault made in real life. This thesis consists of four chapters. The first chapter introduces the criticisms of Atonement, followed by my theoretical frameworks adopted to read this novel. The second chapter begins with the explications of Bakhtin's theory of dialogism and polyphony. By integrating these two concepts to scrutinize the first three parts of the novel, I attempt to analyze how Briony's self-reflexive writing and utilizations of multiple points of view expose her childhood monologic mentality and demonstrate her broadening of the self-other understandings. The third chapter discusses the ambivalent confessional twist in relation to the previous story Briony has mesmerized readers to believe. While the confession has been historically considered as a means of self-liberation, Foucault brings out another aspect that the institutionalization of the confession has turned itself into a mechanism of self-discipline. The novel eventually strikes the final note on the double impetus of Briony's narrative that her confession offers a consolation to suture with the past but meanwhile, upon close inspection, the overtones of her restoration of power as a novelist and the spirals of pleasure and power still lurk behind.

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Orientation Device is a tool for understanding the other towards recognizing alternative possibilities, for care and compassion, for expanding our culturally and politically bounded mindset, a tool of vital nausea and questioning compulsory heterosexuality. The work is a series of augmented reality (AR) experiences for mobile device that allow the audience to participate in documentary queer performances in any private or public setting. These immersive experiences challenge our perception of space. The LGBTQIA+ community is often disoriented within heteronormative spaces, and this work reverses that dichotomy by disorienting the audience. As a cisgender creator, I invite queer performers, artists, poets, and thinkers who express their identity in their creative practices. As the AR medium is widely distributable, I want to give the participants the potential opportunity to present themselves to a wide international audience through the poetics of augmented reality and documentary video holograms. / Master of Fine Arts / ORIENTATION DEVICE: poiesis of documentary volumetric video for augmented reality; location-aware interactive mise-en-scène; applied queer phenomenology; the potential of procedural worldmaking in the future

O presente trabalho tem por objetivo a análise da evolução da semiótica da cultura na obra de estudioso da cultura e literatura, crítico e filósofo russo Iúri Lótman por meio de traduções e dos comentários concernentes aos seus ensaios, escritos em diferentes épocas e dedicados aos principais conceitos da semiótica da cultura, tais como o fenômeno da cultura e os seus processos dinâmicos, o fenômeno da arte, o problema do texto, a memória cultural e a semiosfera. A obra de Lótman enquanto semioticista é inseparável do contexto histórico dos estudos da literatura, linguística, semiótica, cultura tanto na Rússia, quanto no Ocidente. Entre os seus precursores russos estão os escritores e os filósofos do século XIX e, no século XX, os simbolistas, os futuristas e os formalistas. A essência da semiótica da cultura lotmaniana começou a se formar no âmbito da Escola Semiótica de Tártu- Moscou e com a base na tradição dos estudos linguísticos, já nos trabalhos posteriores ela adquiriu um caráter mais filosófico, ao lidar com a imprevisibilidade dos processos culturais universais. Definimos ainda os pontos de coerência entre as ideias de Lótman e a obra dos estruturalistas e pós-estruturalistas franceses, além de Mikhail Bakhtin e Umberto Eco. / The present work aims at analyzing the development of semiotics of culture in the work of Russian culture and literature scholar, critic and philosopher Yuri Lotman through translation and commentary of his essays, written at different periods and dedicated to the core concepts of semiotics of culture, such as culture phenomenon and its dynamic processes, the phenomenon of art, the problem of the text, the cultural memory and semiosphere. Lotman`s work as a semiotician is inseparable from the historical context of the literature, linguistics, semiotics and culture studies both in Russia and the West. Among his precursors are Russian writers and philosophers of the nineteenth and twentiethcentury, the symbolists, futurists and formalists. The essence of Lotman`s semiotics of culture began to form in the Tartu-Moscow Semiotic School on the basis of language studies tradition, though in later works he developed a more philosophical approach, dealing with the unpredictability of universal cultural processes. Further, we point out the connection between Lotman\'s ideas and work of French structuralists and poststructuralists, Mikhail Bakhtin and Umberto Eco.

O presente trabalho tem por objetivo a análise da evolução da semiótica da cultura na obra de estudioso da cultura e literatura, crítico e filósofo russo Iúri Lótman por meio de traduções e dos comentários concernentes aos seus ensaios, escritos em diferentes épocas e dedicados aos principais conceitos da semiótica da cultura, tais como o fenômeno da cultura e os seus processos dinâmicos, o fenômeno da arte, o problema do texto, a memória cultural e a semiosfera. A obra de Lótman enquanto semioticista é inseparável do contexto histórico dos estudos da literatura, linguística, semiótica, cultura tanto na Rússia, quanto no Ocidente. Entre os seus precursores russos estão os escritores e os filósofos do século XIX e, no século XX, os simbolistas, os futuristas e os formalistas. A essência da semiótica da cultura lotmaniana começou a se formar no âmbito da Escola Semiótica de Tártu- Moscou e com a base na tradição dos estudos linguísticos, já nos trabalhos posteriores ela adquiriu um caráter mais filosófico, ao lidar com a imprevisibilidade dos processos culturais universais. Definimos ainda os pontos de coerência entre as ideias de Lótman e a obra dos estruturalistas e pós-estruturalistas franceses, além de Mikhail Bakhtin e Umberto Eco. / The present work aims at analyzing the development of semiotics of culture in the work of Russian culture and literature scholar, critic and philosopher Yuri Lotman through translation and commentary of his essays, written at different periods and dedicated to the core concepts of semiotics of culture, such as culture phenomenon and its dynamic processes, the phenomenon of art, the problem of the text, the cultural memory and semiosphere. Lotman`s work as a semiotician is inseparable from the historical context of the literature, linguistics, semiotics and culture studies both in Russia and the West. Among his precursors are Russian writers and philosophers of the nineteenth and twentiethcentury, the symbolists, futurists and formalists. The essence of Lotman`s semiotics of culture began to form in the Tartu-Moscow Semiotic School on the basis of language studies tradition, though in later works he developed a more philosophical approach, dealing with the unpredictability of universal cultural processes. Further, we point out the connection between Lotman\'s ideas and work of French structuralists and poststructuralists, Mikhail Bakhtin and Umberto Eco.

Adapting the concept of the ”popular cultural memory” and its necessary “context knowledge” established by Karin Kukkonen, this bachelor thesis seeks to examine how this memory is “at work” and expresses itself in contemporary fiction, by doing an intertextual reading of the swedish author Amanda Svensson's debut Hey Dolly. Within the intertextual structures of Hey Dolly the reader encounters allusions and references that address almost everything from contemporary popular culture to established authors in the swedish canon, mainly as means for the characters to help them express their emotions and thoughts, by “choosing” from already available content of popular culture to use and modify. The intertextuality alluding to the popular cultural memory does at the same time address the concept of the ideal reader throughout the novel. This ideal reader is addressed by the narrator as one of those “in the know”, as competent enough to see this “popular cultural memory” at work in the novel by “getting” these intertextual allusions and references. Thus any (real) reader has to be equipped with the same expertise of popular culture as the narrator in order to fully understand this intertextuality. The intertextual practices of Hey Dolly should be understood as traits used by the author to express and implicate her/his awareness of the texts “surroundings”, traits indeed found even in the name of Hey Dolly's main protagonist, symptomatically influenced from contemporary, western American commercial culture. Given the premiss where this intertextual framework relies on a heavily contemporary influenced popular cultural context, it potentially would run the risk of not being understood, should future popular culture contexts operate under different premisses. In this regard the high cultural canon memory would have to be regarded as being more stable and “reliable” than the popular cultural memory, as the norms for the canon are more fixed and rarely negotiated.  Arguing that this intertextual reading of Hey Dolly is of an immense value and significant for understanding how the Zeitgeist operates and should be approached, this thesis is still based on the premiss where the intertextual reading of Hey Dolly has largely been nonexistent when looking at how Hey Dolly has been received. Instead in the swedish media we find a consistent dominance of how its reception has been read from almost exclusively a gendered point of view, where Hey Dolly is seen and regarded as the forthcoming of a new representation of the girl/woman ideal. The intertextual reading of Hey Dolly would instead be regarded as “secondary” at best, where the story by itself is self sufficient, even if the reader lacks the necessary context knowledge of how this ”popular cultural memory” is at work in the text.

本研究旨在從俄國學者Mikhail Bakhtin（1895-1975）狂歡節語言與身體論述的觀點探討「抵抗如何可能？」的問題，並且以台灣當代女性主義小說家李昂於1999年出版的《自傳の小說》為主要的案例，重新思索和說明語言／意義的民主化（democratization）意涵與可能性。 有別於過去論述分析雖然言明語言／意義與政治社會之間並非單向的因果關係，而是相互影響、建構的辯證關係，但在實際進行案例分析時，卻較少著墨於語言如何「由下而上地」對象徵秩序進行意義的顛覆，本研究以Bakhtin對狂歡節語言與身體論述的說明，依序對抵抗的意涵、抵抗的可能性以及抵抗如何在文本中呈現，提出理論性的再詮釋。本研究發現，Bakhtin對於抵抗的想像，乃是一種在傳播／溝通與對話中，藉由特定語言形式而動員的意識形態鬥爭。積極而言，抵抗旨在透過言說主體的表述建構自己的意義系統；消極而言，抵抗至少具有解構他人意義系統的政治意圖。 然而，由於Bakhtin在狂歡節研究中，並未確實回應他企圖探討的「抵抗如何可能？」的問題。因此，本研究融入Laclau與Mouffe的「接合實踐」、Butler的「論述行動」與「身體展演」，從「形式層面」推敲Bakhtin在「眾聲喧嘩」對話模式中所暗示的政治機會，並對「抵抗如何可能？」提出具體的政治方案，包括：眾聲喧嘩的文本空間、對話與敵對關係中的再意義化、諧擬的身體展演、策略性的本質主義。本研究並且藉由對李昂情慾書寫中的抵抗策略進行「書寫形式的意識形態分析」，具體說明「抵抗如何可能？」的理論／概念架構。 本研究發現，李昂的情慾書寫呈現出「歷史書寫的性別化」與「性別論述的狂歡化」這兩個主要的特性。藉此，李昂一方面揭露了父權意識形態的意義生產邏輯，另一方面也藉由批判父權意識形態建構另類的意義系統或敵對／反對論述。從這點回過頭來再詮釋「抵抗如何可能？」的問題，本研究認為抵抗的可能性可說是在眾聲喧嘩或「弱敘事性」的文本空間中，藉由「接合實踐」動員由下而上的「論述行動」，並以「策略性的本質主義」此一政治方案建構霸權化論述的意識形態鬥爭過程；而「身體論述」所誇大展演出的敵對關係，則是最具渲染力也最為具體的例說。

<p>Pat Barker’s fictional account of the Great War, The Regeneration Trilogy, completed in 1995, is considered to be her most important work to date and has captured the imagination of the reading public as well as attracting considerable scholarly attention. Although the trilogy appears to be written in the realistic style of the traditional historical novel, Barker approaches the past with certain preoccupations from 1990s Britain and rewrites the past as seen through these contemporary lenses. Consequently, the trilogy illustrates not only how the past returns to haunt the present, but also how the present reciprocally haunts perceptions of the past. The haunting quality of the trilogy is developed through an extensive, intricate pattern of intertextuality. This reciprocal haunting at times breaks the realistic framework of the narrative, giving rise to anachronisms.</p><p>This study offers a reading of trauma, class, gender and psychology as thematic areas where intertexts are activated, allowing Barker to revise and re-accentuate stories of the past. Drawing on Michel Foucault’s concept of discourse and Mikhail Bakhtin’s notion of dialogue, it focuses on the trilogy as an interactive link in an intertextual chain of communication about the Great War. Received versions of history are confirmed, expanded on and sometimes questioned. What is innovative about the trilogy is how Barker incorporates discursive formations not only from the Great War period, but from the whole twentieth century. The Great War is regenerated and transformed as it passes from one dialogic context to another. My reading shows that the trilogy presents social structures from different historical epochs through dialogism and diachronicity, making the present-day matrices of power and knowledge that continue to surround, determine and limit people’s lives highly visible. The Regeneration Trilogy regenerates the past, simultaneously confirming Barker’s claim that the historical novel can also be “a backdoor into the present”.</p>