The location-based social network (LBSN) Snapchat allows millions of users to share their locations to others through Snap Map: a digital map that updates their position each time they open the app. While social science studies have explored sentiments, behaviors and norms among Snap Map users, there is limited research on this type of location-based social network in the field of human-computer interaction (HCI), indicating a need for expanding the understanding of the roles that this technology and its design play in shaping the experiences and interactions among users. To address this need, this dialogical study applied a mixed-methods approach consisting of autoethnography and semi-structured interviews with two co-participants over the course of five weeks. The outcomes were analyzed using concepts from postphenomenology, introducing the main stabilities being seen and seeing others that were leveraged to nuance how Snap Map impacts e.g. communication, agency and what it means to act. The postphenomenological findings where then discussed from the lens of the spatial self to unpack how Snap Map mediates identity and performance. This combination of methods and lenses applied to a social media platform is a novel and fruitful approach in HCI, that led to discussions on how the design of Snap Map leads to concepts such as spatiotemporal ambiguity and the nexus of selves, shaping users’ relations to each other, themselves and their identity. / Miljontals användare på det platsbaserade sociala nätverket Snapchat delar sin plats med varandra via Snapkartan: en digital karta som automatiskt uppdaterar användarens position varje gång de öppnar appen. Studier inom samhällsvetenskapen har kartlagt känslor, beteenden och normer bland Snapkartans användare, men inom fältet människa-datainteraktion (MDI) finns det idag lite forskning tillägnad denna typ av teknologi, vilket indikerar ett behov av att utvidga förståelsen för de roller teknologin och dess design spelar i påverkan av dagliga upplevelser och interaktioner bland användarna. För att adressera detta använde denna dialogiska studie en blandad metod som bestod av autoetnografi och semi-strukturerade intervjuer med två deltagare under fem veckor. Resultaten analyserades med hjälp av begrepp från postfenomenologi, där de huvudsakliga stabiliteterna "att bli sedd" och "att se andra" introducerades och användes för att nyansera hur Snapkartan påverkar exempelvis kommunikation, agens och vad det innebär att agera. De postfenomenologiska resultaten diskuterades sedan utifrån perspektivet av den rumsmedvetna aspekten av ens identitet (the spatial self) för att bryta ned hur Snapkartan förmedlar identitet och performativa handlingar. Denna kombination av metoder och perspektiv som tillämpas på en social medieplattform är ett nytt och fruktbart tillvägagångssätt inom MDI, som ledde till en diskussion om hur Snapkartans design ger upphov till begrepp som rumslig och tidsmässig tvetydighet och sammankopplingen av flera självuppfattningar som formar användarnas relationer till varandra, sig själva och deras identitet.

在路易斯‧卡洛（Lewis Carroll）的小說《愛麗絲夢遊仙境》（Alice’s Adventures in Wonderland, 1865）中，愛麗絲是個透過夢境冒險於地底的旅行者。在她的旅行中，愛麗絲一直無法掌握仙境中各種事物的意義，而產生了「怪誕」（the uncanny）觀感，因為仙境中的事物總是一方面打破、另一方面卻怪誕地指涉地面上的世界。本論文擬從「旅行時空性」、「旅行本質」與「愛麗絲做為旅行者」三個面向去解讀愛麗絲旅行的涵意。 / 本論文第一章為總論性質的介紹。第二章從心理學潛意識分析討論文學中的「幻見」（fantasy）與「奇幻文學」（fantasy literature）中的旅行主題。本論文主張潛意識與現實息息相關，愛麗絲夢境中的旅行因而帶有真實色彩。本論文以法國哲學家德勒茲（Gilles Deleuze）的「遊牧」（nomadology）與「變成」（becoming）理論為基礎，結合伊斯蘭（Syed Manzurul Islam）從德勒茲理論延伸出的旅行理論，為小說中的旅行主題帶出新的觀點與視野。 / 第三章分析仙境的時空性（spatiotemporality）與時空性對愛麗絲的旅行者角色的影響。伊斯蘭將旅行者分成兩類：遊牧旅行者（nomadic traveler）與靜止旅行者（sedentary traveler）。遊牧旅行者脫離現在（the present），在平滑空間（smooth space）中進行其「變成」過程；靜止旅行者則只侷限於有限時間中，在固著空間（rigid space）的特定路線移動。因此，旅行的時空性影響旅行者成為遊牧旅行者或靜止旅行者。本論文指出，仙境的多重時空性供給愛麗絲成為遊牧旅行者的機會。 / 第四章著重探討愛麗絲的旅行本質與她的旅行者角色，從分析愛麗絲與他者的相遇情形、她的旅行速度與移動，到她在地底世界的「變成」過程。愛麗絲在仙境的「變成他者」（becoming-other）有待商榷，她不斷地侷限自己於維多利亞（the Victorian）的規範中，無法「與他者相遇」（encounter the other），無法以緊密的速度（speed of intensity）進行「去畛域化」（deterritorialization）。儘管仙境的時空特性促使愛麗絲往遊牧旅行的路線前進，但是她缺少擺脫過去記憶與偏見的決定性動作。愛麗絲的旅行擺盪在「變成他者」、成為遊牧旅行者的邊緣地帶。 / 愛麗絲的旅行既不是靜止旅行，也不是遊牧旅行；她有自己獨特的旅行風格，總是擺盪在靜止旅行者與遊牧旅行者的角色之間。她沒有像遊牧旅行者一樣「變成他者」；她處於無止盡的「變成（遊牧）旅行者」（becoming-(nomadic) traveler）過程中。 / In Lewis Carroll’s Alice’s Adventures in Wonderland (1865), Alice is a traveler, adventuring in the fantastic underground under the framework of her dream. Alice’s failure to grasp sense in Wonderland and her constant suspicion of things and inhabitants make her travel an uncanny one, for events in Wonderland always disturb but uncannily refer to those of the above world. This thesis attempts to explore the secrets of Alice’s travel lurking in the dream scenario, identifying and explicating her role as a traveler in the miraculous Wonderland from three aspects of travel: traveling spatiotemporality, the nature of travel and the traveler herself. / Chapter One is a condense, general introduction to the whole thesis. Chapter Two discusses the psychoanalytical theory of the unconscious, the theory of fantasy in literature, and the motif of travel in fantasy literature. The inseparable relationship between the unconscious and the reality will be introduced first. It is this relationship that makes Alice’s travel in her dreamland being effective and possible in the real world. Employing the Deleuzian theory, this thesis takes Gilles Deleuze’s ideas on “nomadology” and “becoming” as the main theoretical framework. Being accompanied with Syed Manzurul Islam’s ideas on the ethics of travel, which is derived from the Deleuzian theory, this thesis takes a step further to develop a new perspective on travel account. / Chapter Three deals with the spatiotemporality of Wonderland, analyzing its spatiotemporal nature and the way it influences Alice’s role as a traveler. Islam divides traveler into two categories—a nomadic traveler and a sedentary traveler. A nomadic traveler is one who eludes the present, undergoing the process of becoming-other on the smooth space, whereas a sedentary traveler is one who travels on pre-set routes of the rigid space within limited temporality. Therefore, the spatiotemporality of a travel will affect the kind of a traveler Alice would be. The multiple spatiotemporality of Wonderland provides Alice with a good foundation to become a nomadic traveler. / Chapter Four concentrates on Alice’s travel and her role as a traveler, analyzing her encounter with the other, her traveling speed and movement, and her becoming in the fantastic underground world. Alice is problematic in becoming-other, since she keeps being captive in the representation of norms received from the Victorian overground which makes encounter with the other and deterritorialization with intensity of speed impossible. Although the spatiotemporality of Wonderland pushes Alice forward to the process of a nomadic travel, she lacks a final move to shake off the confinement of the past memories and preconceptions. Alice is on the brink of becoming-other as a nomadic traveler. / Alice’s travel is neither a sedentary nor a nomadic one; she has a travel of her own, always vacillating between a sedentary traveler and a nomadic traveler. As a sedentary traveler, she is not becoming-other as a nomadic traveler, but on the process of becoming-(nomadic) traveler.