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文獻學與文化研究是金學研究的大宗，二者關注的共同點是《金瓶梅》「寫了什麼」；本論文則結合評點及敘事學，整合《金瓶梅》的敘事原則，分析特定敘事筆法反覆出現的用意，有系統地探究《金瓶梅》的敘事特徵及藝術成就，亦即藉著分析敘事者「如何講述故事」，建立起藝術筆法與小說內容之間的關係。 援引敘事理論探討傳統小說，一部份的目的在於更精確地描述小說的特色，而非還原作者的意圖，或尋求完整的詮釋體系。因此，雖然西方敘事理論已發展成一套便於操作的分析方法，但本論文並不完全依循敘事理論解析《金瓶梅》，僅參酌敘事理論能與傳統評點相互呼應之處，論述用語仍以評點為主，取其切合中國文化與詮釋傳統的優點，可避免論述文字歐化之病；也保留評點特意關注，但敘事理論並未探究者。本論文章節架構則大體依照敘事理論建立，不只為了條理分明地說明評點的內涵，也注重敘事理論已經觸及，但評點論述不足的敘事特徵，藉此開拓《金瓶梅》的詮釋面向。 本論文從結構、時空、視角三個層面，析論《金瓶梅》的敘事技巧，並參酌熱奈特（Gérard Genette）的敘事理論。論文第二章便借用他對故事時間及敘事時間的區分，對敘事「延伸」（narrative scattering）的分析，以及科比利（Paul Cobley）對敘事中「期待」及「回憶」的探討，來闡釋《金瓶梅》組織段落的次序所蘊含的意義，並說明書中如何聯繫不連續的片段。本章亦探討評點中「綴合」的觀念，分析《金瓶梅》如何連接相鄰的片段。第三章援引羅蘭‧巴特（Roland Barthes）「現實效應」（reality effects）的概念，分析《金瓶梅》中的「細節」及評點者的閱讀樂趣，並重新思考蒲安迪（Andrew H. Plaks）「形象迭用」的意涵。第四章則運用敘事理論中的「視角」（point of view）及「敘事情境」（narrative situatiion），重新詮釋說書人及說書情境對傳統小說的影響，並藉助「凝視」（gaze）及「偷窺」（voyeurism）理論，探討《金瓶梅》中擅以偷窺寫人物「破綻」的特徵。 透過本論文的分析可知，作者重新組織包羅萬象的現實生活，使敘事時間及故事時間之間產生對比，不但具有相互映照或延宕懸念的效果，也能涵容同一敘事時間內的諸多敘事線索。各種串接不同片段的敘事筆法，則使人物及事件間產生緊密的聯繫，形成各個事件之間互為因果，錯綜影響的關係。「說書」的情境能聯繫虛構的小說世界與真實的人生，構成小說人物種種所為被公諸於世的語境，滿足聽眾／讀者一窺究竟的好奇心與偷窺欲；以小說人物的偷窺作為敘事視角時，則能突顯敘事視角隱含的意識型態，也使讀者及評點者都成為偷窺者，獲得不同的閱讀樂趣。上述特徵與《金瓶梅》隨處可見的「擬真」描寫，以及「白描」、「沒要緊處」餘韻無窮的筆墨，共同構成《金瓶梅》逼真的時空環境與特殊的講述角度，使讀者藉著虛擬的經驗，在極短的閱讀時間之內，見證西門家的興亡盛衰，感同身受地理解「盛極而衰」及「一切皆空」的哲理。

This thesis examines the portrayal of authorship in Byatt’s novels with a particular focus on her use of character-authors as a site for the destabilisation of dominant literary and cultural paradigms. Byatt has been perceived as a liberal-humanist author, ambivalent to postmodern, post-structuralist and feminist literary theory. Whilst Byatt’s frame narratives are realist and align with liberal-humanist values, she employs many different genres in the embedded texts written by her character-authors, including fairy-tale, life-writing and historical drama. The diverse representational practices in the novels construct a metafictional commentary on realism, undermining its conventions and conservative politics. My analysis focuses on the relationship between the embedded texts and the frame narrative to demonstrate that Byatt’s strategies of representation enact a postmodern complicitous critique of literary conventions and grand narratives. Many of the female protagonists and minor characters are authors, in the broad sense of cultural production, and Byatt uses their engagement with representation of women in literature to pose questions about how cultural narratives naturalise patriarchal definitions of femininity. That Byatt’s female characters resist patriarchal power relations by undermining the cultural script of conventional femininity has been under-explored and consequently critics have overlooked significant instances of female agency. Whilst some branches of postmodern and feminism literary theory have conceptualised agency differently, this thesis emphasises their shared analysis of the discursive construction of subjectivity, as it illuminates Byatt’s disruption of literary conventions. My focus on the embedded texts and the discursive construction of authorship in Byatt’s fiction enables me to address the numerous paradoxes and inconsistencies in the novels as fertile sites that undermine Byatt’s presumed politics.

À partir de définitions empruntées à la philosophie antique (Platon, Aristote), à la littérature païenne (Ovide), à la théologie chrétienne (Augustin, Thomas d’Aquin), ou encore à la médecine (de Galien à Robert Burton), cette thèse étudie les représentations du désir dans la poésie narrative élisabéthaine des années 1590, en particulier chez Shakespeare (Venus and Adonis), Marlowe et Chapman (Hero and Leander) et Spenser (The Faerie Queene, II et III). Le postulat de départ est que le désir détermine les conditions de sa représentation : il est ainsi à la fois objet poétique et principe de création littéraire. L’approche rhétorique cible les figures de style associées au mouvement : la métaphore et la métonymie, mais aussi les figures de construction qui jouent sur l’ordre des mots et les figures de pensée qui se dévoilent progressivement, comme l’allégorie. Si le désir fonctionne comme un lieu commun dans les textes de la Renaissance anglaise, le recours à une rhétorique commune et le partage d’un même lieu physique ne garantissent pas nécessairement le rapprochement des corps. C’est face à face que sont envisagés le corps désiré, caractérisé par sa fermeture et considéré comme une œuvre d’art intouchable, et le corps désirant, organisme vivant exposé à la contamination. La perméabilité gagne le poème lui-même, dans son rapport à son environnement politique et social, dans son utilisation de ses sources et dans sa composition. Parce qu’il joue un rôle en tant que mécanisme de progression du récit, notamment dans la relation entre description et narration, le désir invite à envisager la mimésis comme un processus réversible. / Starting from definitions of desire borrowed from ancient philosophers (Plato, Aristotle), classical poets (Ovid), Christian theologians (Augustine, Thomas Aquinas), and physicians (from Galen to Robert Burton), this dissertation studies the representations of desire in Elizabethan narrative poetry from the 1590s, and more particularly in Shakespeare’s Venus and Adonis, Marlowe and Chapman’s Hero and Leander, and Spenser’s Faerie Queene (II and III). The guiding hypothesis is that desire determines the terms and images in which it is represented; it is therefore both a poetical object and a principle of literary creation. Using a rhetorical approach, I focus on stylistic devices linked with motion: metaphor and metonymy, but also figures of construction which play on word order, and figures such as allegory, which progressively unravel thought. Although desire does act as a commonplace in Early Modern texts, sharing the same language and the same locus does not necessarily entail physical communion for the bodies involved. The body of the beloved, enclosed upon itself and depicted as an untouchable work of art, is pitted against the lover’s organism, alive and exposed to contamination. The poem itself becomes permeable in relation to its social and political environment, in its use of sources, and in its compositional procedures. Desire articulates description and narration, leading the narrative forward but also backward, which suggests that mimesis can be a reversible process.

婦女研究不僅是在社會學、人類學、文學、傳播學等各學科中以女性主義角度研究有關女性問題，同時又在生物學、醫學、心理學等以女性為研究客體探討從未受重視的女性身心。基於歐美多元複雜的女性論述和婦女研究，台灣的婦女研究需要在不同領域、針對不同議題研究批判，才能窺得父權全貌並建立女性主體。就傳播領域而言，漫畫媒介仍是一塊研究的蠻荒之地，自一九九二年 ＜著作權法＞修定通過後 ，台灣漫畫出版界一片欣欣向榮，短短二、三年間，漫畫風潮從校園蔓延至社會各階層，在出版界，漫畫是書刊類出版品中總數量數一數二，在傳閱率上，漫畫擁有的讀者群人數也是各類圖書之冠，然而，這樣一種有著高普及率與廣泛影響力 的媒介卻很少成為學術研究的對象，以性別角度研究漫畫更是付之闕如。 日本連環漫畫＜城市獵人＞集美女、英雄、情色、冒險、暴力、夢想、爆笑於一身，全書充斥著刀、槍、酥胸、長腿、勃起，並且在引進台灣後所向披靡地席捲全省高中、專校及大學，是屬性別意涵豐富的漫畫經典名作，基於＜城市獵人＞所創造的高普及率與其具爭議性的性別意涵，相當值得以女性主義的觀點來探討＜城市獵人＞中的女性意涵。女性主義學術是要改變以往被視為普遍性的性別觀念並以女性經驗及女性對文化貢獻的知識重建起女性的視角。因此，要打破性別迷思必須否認性別迷思自然生成的觀念，而著重於主體在符號活動過程中的社會建構。拉康(J. Lacan)的主體形成理論指出嬰兒透過鏡中形象和語言的獲得而變成性別主體(gendered subjectivity)，受拉康主體形成理論和結構主義符號學的影響，阿圖塞(L. Althusser)發展其主體性及意識型態理論，以權力的觀點解釋人與社會的關係，適宜女性主義學術援引以理解父權社會中不平等權力分配的本質，及透由意識型態建構性別主體的過程。而以語言學的概念運用到任何訊息傳佈現象，提供日常生活中意義的反省與批判的符號學分析(semiotics)和敘事理論(narrative theory)則適宜作為解讀文本的研究方法。本研究即以拉康的主體形成理論及阿圖塞的意識型態理論為探討女性主體性的理論基礎，以符號學分析和普洛普(V. Propp)發展的敘事結構模式為解讀文本的方法，解構漫畫＜城市獵人＞文本深層之性別迷思和意識型態結構。

Abstract Title: A union, a collaboration and a currency crisis- a quantitative study of the media coverage of the euro crisis within the European Union in Spanish and Swedish newspapers. The purpose of this study was to see whether Sweden and Spain ́s differences in media climates and relations to the euro crisis would affect how the story was portrayed from a narrative perspective. Did the coverage differ between the two countries and who got to comment on the situation in the media were two of the questions I strived to answer. I also wanted to see how the coverage reflected on the situation that the euro crisis has created. In this study I used a number of theories that I based my research on. The main theories I focused on was about different media systems and Sweden and Spain ́s relation to the euro crisis. Other theories that this study rests on are narrative theory and media logic. The method I used was a quantitative text analysis from a narrative perspective. I formed variables that I tested against all of the articles. To limit the research to a manageable level I chose to analyze the articles of one newspaper from each country. The two newspapers that I analyzed were Dagens Nyheter from Sweden and El País from Spain. The results showed that the two countries, despite what the theories might have implied, portrayed the story in similar ways. The differences between the countries media climates and their relations to the euro crisis where not apparent in the newspapers storytelling. In almost all of the articles in both countries people in powerful positions got to make their voices heard whilst the citizens affected by the crisis rarely got the same opportunity. Spain reported more on the situation that followed the crisis and Sweden wrote more often about a solution to the problem.

Mad Pursuits: Therapeutic Narration in Postwar American Fiction examines three mid-century American novels—J.D. Salinger’s The Catcher in the Rye (1951), Ralph Ellison’s Invisible Man (1952), and Sylvia Plath’s The Bell Jar (1963)—in relation to the rise and popularization of psychoanalytic theory in America. The study historicizes these landmark novels as representing and interrogating postwar America’s confidence in the therapeutic capacity of narrative to redress psychological problems. Drawing on key concepts from narrative theory and the multidisciplinary field of narrative and identity studies, I argue that these texts develop a multi-layered, formal problematization of therapeutic narration: the narrativization of the self through modes of interpretation based on character action and development. The study, thus, investigates how the texts both critique the purported effectiveness of being healed through narrative means, as well as how they problematize their society’s investment in this method. I propose that the novels ultimately explore submerged possibilities for realizing what I call fugitive selves by creating self-representations that negotiate and exceed the confines of the paradigmatic models of plot and character of the period. In Chapter One, I argue that the ego and pop psychological movements during the postwar era encouraged the American public to define and realize psychological health, success and happiness through narrativized means. I show in Chapter Two how careful differentiation between narrative levels of interpretation in The Bell Jar reveals the novel’s complication of the self created in narrative, with and against the socio-cultural scripts and therapeutic assumptions of the period. Chapter Three concentrates on The Catcher in the Rye’s various methods of de-composing the narrative identity of the subject created through developmental and therapeutic narration. In the final chapter, I read Invisible Man as a satire of postwar psychoanalytic theory and method specifically concerning racialized narrative identities, and as a reflection on a method of enduring psychological illness. The Conclusion brings together several argumentative strands running throughout the dissertation regarding what the novels contrastively reveal about the perils, and even the possibilities, inherent in the narrativizing of the self in early postwar America.

Den här uppsatsen undersöker Py Sörmans roman Aloë utifrån begreppet derealisering. Derealisering, menar uppsatsförfattaren, utgör en medvetenhet om problem gällande representationen av realitet som är central för postmodernismen. Denna medvetenhet aktualiserar frågeställningar gällande förhållandet mellan narrativitet och realitet, frågeställningar som är närvarande i den moderna och postmoderna romanen. Aloës ämne och narrativitet, argumenterar uppsatsen, belyser dessa frågeställningar. Uppsatsförfattaren strävar efter att bevisa detta genom att analysera romanen med hjälp av begrepp från narrativ teori. Den avslutande utvärderingen av undersökningen (slutdiskussionen) finner inte att derealisering är Aloës allra mest centrala ämne, men finner att derealisering är en närvarande frågeställning, är bestämmande för romanens representation och är en inneboende del av romanens struktur. / This essay uses the term derealization to investigate Py Sörman’s novel Aloë. Derealization, the author of this essay claims, consists of an awareness of problems regarding the representation of reality that are central to postmodernism. This awareness gives rise to questions regarding the relationship between narrativity and reality, questions that are present in the modern and postmodern novel. Aloë’s subject and narrativity, the essay argues, highlights these questions. The essay aims to prove this by analysing the novel using concepts from narrative theory. The concluding evaluation of this investigation finds that derealization is not Aloë’s most central subject or theme, but finds that questions regarding derealization are present, that they affect the novel’s representation, and that they form an integral part of the novel’s structure.

Partial Minds argues that contemporary American novels strategically break conventionally-defined norms for the representation of fictional minds to highlight unusual character thoughts. Certain states of mind—including traumatic experiences, conflicting feelings, some memories, and the simultaneous possession of multiple identities—are more difficult to represent than others, and so some authors or narrators reject conventional cognitive representations, such as naming feelings, if they seem poor tools for effectively communicating that character’s exceptional quality to the reader. For example, the trauma of Marianne in Joyce Carol Oates’s We Were the Mulvaneys is represented by the narrator, her brother Judd. But in attempting to represent the state of Marianne’s mind on the night she was raped, Judd finds that simply turning to a verbalized account of her thoughts, such as “I felt terrible,” or a seeming-omniscient gloss of her mental state, such as “She suffered incredible mental turmoil,” is insufficient and incommensurate with the traumatic and painful mental state she must have endured. In cases like these, authors and narrators reject conventional models of representation and turn to partial minds to effectively articulate to the reader the mental state that the character experiences. These more effective representations are pivotal in communicating to the reader a more adequate—whether from a mimetic, synthetic, or thematic perspective—understanding of characters’ experiences. Partial minds are often the very required conditions for readers to empathize with a character. By looking at several different instantiations of partial minds in recent American novels, I show how this technique both heightens the value of cognitive narrative criticism and revises the way we read many of literature’s most interesting characters.