解域烏托邦與瑪格麗特•愛特伍的《瘋癲亞當》三部曲

Deterritopia and Margaret Atwood’s MaddAddam Trilogy

柯嘉瑋(Chia-wei Ko)

指導教授 ： 張小虹

國立臺灣大學/文學院/外國語文學研究所/碩士(2015年)

https://doi.org/10.6342/NTU.2015.00741

摘要

本文針對瑪格麗特•愛特伍的《瘋癲亞當》三部曲提出「解域烏托邦」的閱讀方式。大部份烏托邦�敵托邦閱讀裡，評論家大都力圖分析小說作家對於當代社會的批評方式以及批評內容；解域烏托邦式閱讀則有別於大部分烏托邦�敵托邦式閱讀關注的「批評」，轉而關注小說文本之「創造」的生成過程，試圖以「創造」作為最基進的社會改革方式。「解域烏托邦」一詞強調法國理論家吉爾•德勒茲提出的「解畛域化」概念、佐以「烏托邦」所蘊含的社會改造企圖，打破烏托邦�敵托邦對於特定未來時間或特定封閉空間的想像，以「創造」作為實踐、以「改變」作為宗旨。
　　本論文分析焦點有三：主體生成、空間、語言。由此三方面切入愛特伍的《瘋癲亞當三部曲》，分別回應烏托邦�敵托邦對於時間、空間和語言的建構。如果說烏托邦�敵托邦裡的主體面對的是一個嚴格控管的時─空關係，那麼解域烏托邦旨在消融這種封閉的時─空關係，因此讓主體有新的生成可能。同理，若在烏托邦�敵托邦的閱讀裡，語言是為管控思想或抵抗體制的最佳利器，解域烏托邦則試圖讓語言本身以「創造」自身之「新」作為最激烈的革命手段。換言之，針對愛特伍的《瘋癲亞當》三部曲作為一種創造，解域烏托邦的概念企圖透過分子式的觀點以「創造」閱讀「創造」自身，而烏托邦�敵托邦讀法則是莫耳式的以「批評」閱讀「創造」。唯有透過創造作為號召、以創造作為行動，社會之改變才更有可能發生在此刻與此地。

關鍵字

吉爾•德勒茲 ； 解畛域化 ； 烏托邦 ； 敵托邦 ； 解域烏托邦 ； 瑪格麗特•愛特伍 ； 《瘋癲亞當》三部曲

並列摘要

This thesis proposes a “deterritopian” reading of Margaret Atwood’s MaddAddam trilogy. In most of the readings of utopian/dystopian fiction, critics tend to center on how and what the writer criticizes in order to offer a critique of the current society, while a deterritopian reading highlights the process of creation involved in utopian/dystopian fiction in order to explore how creation is made possible so that a genuine change of the society can be ushered in. Gilles Deleuze’s concept of deterritorialization will be foregrounded to explore how deterritopia incorporates the utopian desire to change the world and pushes the desire a step forward to the implementation of action, namely creation.
The thesis conducts a deterritopian reading from three aspects in Atwood’s MaddAddam trilogy: subjectivity, space, and language. They respectively correspond to how utopian/dystopian discourses deal with time, space, and language. If a utopia/dystopia stands for a strict control over the temporal-spatial relationship between the subject and the surroundings, then a deterritopia aims at opening up such a strict temporal-spatial control over the subject, and thus summons forth a brand new formation of subjectivity and space. Similarly, if in an idealistic utopia or an extremely nightmarish dystopia the language plays the crucial role of controlling thought, then a deterritopian language is able to dismantle the control towards its revolutionary change. As such, a deterritopian reading regards the trilogy as critique via creation, while utopian/dystopian readings conduct critique through criticism. It is by the emphasis on creation that we can put into practice an urgent action that changes the society right here and right now.

並列關鍵字

Gilles Deleuze ； Deterritorialization ； Utopia ； Dystopia ； Deterritopia ； Margaret Atwood ； MaddAddam trilogy

參考文獻

Atwood, Margaret. In Other Worlds: SF and the Human Imagination. New York: Nan A. Talese/Doubleday, 2011. Print.

---. Oryx and Crake: A Novel. New York: Anchor, 2004. Print.

Baccolini, Raffaella, and Tom Moylan, ed. Dark Horizons: Science Fiction and the Dystopian Imagination. New York: Routledge, 2003. Print.

Beaumont, Matthew. The Spectre of Utopia: Utopian and Science Fictions at the Fin De Siècle. Bern: Peter Lang, 2012. Print.

Bergthaller, Hannes. “Housebreaking the Human Animal: Humanism and the Problem of Sustainability in Margaret Atwood's Oryx and Crake and The Year of the Flood.” English Studies 91.7 (2010): 728-43. Print.