This thesis is a phenomenological study that has been carried out via two semi-structured interviews with an -  in conventional ways of categorising - 22 years old white, heterosexual, and middleclass Swedish woman, referred to as “Andrea”. The thesis aims to explore the becomings of Andrea in connection with cosmetic body modifications and her experiences in relation to this of fitting and misfitting, which are related to the dis/ability system. The aim of this thesis has also been to situate her as an embodied female subject in an intersectional context, in addition to her own experiences, as multiple social categorizations intra-act in the creation of dis/ability. The thesis takes its point of departure in Rosi Braidotti’s theorization of nomadic subjectivity and employs her notion of subjectivity as a negotiation between desire and power, with the goal of analysing the affirmative potential of cosmetic body modifications, as well as being critical towards them and their effects. Rosemarie Garland-Thomson’s concepts of fitting/misfitting are used in order to analyse the intra-actions between body and environment as well as how cosmetic body modifications affect the fit and/or misfit of Andrea.  Sara Ahmed’s notion of orientation has been employed in relation to this, with the aim of showing how beauty, whiteness, femininity, and economic wealth are produced and sustained. In the thesis it is analysed how Andrea, in complex ways desires molarity at the same time as she actively resists “fixed” positionings of her. Andrea contributes to a deconstruction of the fixity of molar identity as her resistance disrupts the flow of expected behaviors - something which creates moments of imperceptibility. The thesis furthermore argues that Andrea uses cosmetic body modifications as an affirmative deconstruction of power in addition to it being a force that drives her towards the desired molarity.

在蓋曼（Neil Gaiman）第一部小說《無有鄉》（Neverwhere, 1997）裡，透過對地下倫敦的想像，挖掘蟄伏於城市之中的邪惡、混亂與時空的交錯。主人翁理查（Richard）地下倫敦之旅顛覆他對城市既有的認識，城市不是如表面所見的井然有序、善惡分明，而是過去與現在的混雜和交織，惡勢力隨時匍匐其中。本文擬以空間議題為經、城市居民主體為緯，探討蓋曼筆下的倫敦呈現何種後現代都市空間、城市空間和主體間的互動，以及游牧主體如何在他者空間中生成。 論文第二章主要藉助索雅（Edward W. Soja）第三空間（thirdspace）的概念，闡釋小說裡後現代倫敦空間。首先爬梳瑞本（Jonathan Raban）、列斐伏爾（Henri Lefebvre）, 和索雅三人對於後現代地理學的觀念，而後側重於索雅提出的第三空間。《無有鄉》裡，城市遠比理查所認為的還要複雜、失序，他漫遊於地上倫敦和地下倫敦之間，其所見景象呈現倫敦浮世繪，解構真實倫敦和想像倫敦間的界線，而此正體現索雅所謂的第三空間。 第三章以班雅明（Walter Benjamin）對漫遊者（flâneur）的討論為出發點，闡釋《無有鄉》裡漫遊者／偵探和城市空間的互動。身兼漫遊者和偵探的理查，由於處在混雜猶如迷宮的倫敦市景中，所以喪失經典漫遊者對城市全景的掌控。雖然《無有鄉》在情節的過程裡呈現後現代氛圍，企圖解構二元對立，但惡勢力最終的剷除，暗示地下倫敦又將回歸秩序，於焉似又陷入善惡二元對立的局面，但另一方面，女性在回歸秩序的過程裡，扮演舉足輕重的地位，女性的參與展現對空間父權化的抵制，而此也打破性別空間的二分法。 第四章著重討論小說的結局。筆者援引德勒茲（Gilles Deleuze）和瓜達里（Félix Guattari）游牧學（nomadology）的概念，闡釋主人翁主體的變異。在他者倫敦空間裡，主人翁和他者接觸而歷經生成他者（becoming-other），並開啟其逃逸路線（lines of flight），所以在回到原本的世界後，他又欲重返地下倫敦，擺盪於兩個世界，不囿於其中一方。 在《無有鄉》裡，兩個倫敦空間並非截然劃分，卻是相互滲透交織。想像的地下倫敦是一個暗喻，代表被城市邊緣化、他者化而忽略的空間，透過主人翁的漫遊，展現倫敦市景的多重面貌。 / Neil Gaiman’s first novel Neverwhere (1996) depicts an imaginary London Below which exposes the urban evil, chaos, and juxtaposition of diverse spaces. After his journey to London Below, the protagonist Richard changes his view of the city. That is, London is not of orderliness as it appears, but of the present interwoven with the past; it lacks a clear distinction between good and evil, and contains evil power embedded underneath. This thesis employs a spatial perspective as a thread to explore postmodern spatiality embodied in Gaiman’s London cityscape, the interaction between urban space and the subject, and the formation of nomadic subjectivity in the spaces of the other. In Chapter Two, I resort to Edward W. Soja’s conception of Thirdspace to deal with postmodern London spatiality in Neverwhere. I first introduce three spatial critics’ notion of postmodern geographies, including Jonathan Raban, Henri Lefebvre, and Soja whose Thirdspace serves as the main spatial framework of the thesis. Neverwhere delineates the urban landscape which is far more complex and disorderly than Richard assumes. He strolls between London Above and London Below, and his view of these two worlds which deconstructs the line between the real and the imagined presents Thirdspace in Soja’s term. Chapter Three utilizes Benjamin’s discussion of the flâneur as a starting point to deal with the interaction between the flâneur/detective and urban spatiality. As a flâneur/detective, Richard encounters labyrinthine cityscape, so he loses a classical flâneur’s/detective’s panoramic view of the city. Although Neverwhere as it progresses smacks greatly of postmodern aura by deconstructing dualisms, the collapse of evil power near the end of the novel suggests the retrieved order, so the novel seems to regress into dualisms. Simultaneously, in the process of regaining order, females play an important role, for females’ participation presents their resistance to patriarchal space and also subverts a gendered spatial dichotomy. Chapter Four focuses on the discussion of the ending of the novel. I apply Gilles Deleuze and Félix Guattari’s conception of nomadology to the protagonist’s nomadic subjectivity. I argue that the other London spatiality triggers the protagonist’s becoming-other via the contagion of the other and initiates his lines of flight. Because of this, after returning to his previous world, the protagonist seeks to leave for London Below. He keeps vacillating between the two worlds, for he refuses to be bound by either of them. In Neverwhere, the multifarious facets of London cartography are outlined through the protagonist’s strolling. The imagined London Below is a metaphor which represents marginalized, otherized and overlooked urban spatiality. The line between London Above and London Below is not completely clear-cut, but interwoven with each other.

Cette recherche part d’un double intérêt. Pour la spiritualité, dont on entend beaucoup parler dans un 21e siècle inquiet et en quête de nouveaux repères. Et pour le cinéma, ou 7e art, phénomène culturel phare des temps modernes, qui reflète abondamment les problématiques et questionnements du monde. À une époque où on observe une tendance à l’homogénéisation culturelle, résultat de la mondialisation économique, cette thèse traite du « cinéma transnational ». Elles aussi, les œuvres de ce cinéma traversent l’espace planétaire, mais tout en conservant un solide ancrage local et une singularité artistique. Ce sont en bonne partie les films que l’on retrouve dans les festivals internationaux, tels Cannes, Venise et Berlin. Le cinéma traduisant toutes les interrogations possibles du présent, plusieurs films apparaissent donc porteurs d’un questionnement à portée spirituelle. Et ce, avec des moyens non discursifs, propres à l’art cinématographique. Ils invitent aussi à la rencontre de l’autre. L’objectif de la thèse consiste à décrire comment, par l’analyse d’une douzaine de films transnationaux, on peut dégager de nouveaux concepts sur la façon avec laquelle se vit la spiritualité à notre époque, en relation avec l’autre, et pourquoi cette spiritualité s’accompagne nécessairement de considérations éthiques. Pour accomplir cette tâche, la thèse s’appuie sur les travaux de deux philosophes, Gilles Deleuze (France) et Stanley Cavell (États-Unis), qui ont marqué les études cinématographiques au cours des dernières décennies, par des approches jugées complémentaires pour cette recherche. Le premier a développé sa pensée à partir de ce qui distingue le cinéma des autres arts, et le second, à partir de l’importance du cinéma pour les spectateurs et les spectatrices. Enfin, la thèse se veut une théologie, ou pensée théologico-philosophique, indépendante d’une tradition religieuse et au diapason des réalités du 21e siècle. / This research is based upon two fields of interest. For spirituality, a concept very much to the fore in this troubled 21st century in search of fresh yardsticks. And for cinema, aka the 7th Art, a beacon on the cultural scene, with its insights in today’s issues and questionings. In this era of cultural homogenization, itself the result of economic globalization, this thesis probes “transnational cinema” for fresh answers. Transnational films cross the global space while keeping their local roots and own artistic identity. Very often one will find these works featured in the big film festivals, such as Cannes, Berlin or Venice. Focusing on today’s questionings and issues, many of these movies appear to be bearing a spiritual imprint, with non-discursive methods. They promote openness to others. The goal of this thesis is to describe, through an analysis of a dozen transnational films, how new concepts defining ways to live a spiritual life today can be found. Further the thesis will underline why this spirituality is linked with ethics. To reach that goal, the thesis relies strongly on the works of philosophers Gilles Deleuze (France) and Stanley Cavell (USA). Both have been judged to have complementary approaches for this research, and have made a strong mark on cinematographic studies in the last decades. Deleuze has developed his philosophy on what distinguishes cinema from the other arts. Cavell has focused his thoughts on the importance of cinema for its viewers. Finally, this thesis is in the form of a theology, or theologic-philosophic thought, not linked to a religious tradition and in synchronicity with its times.