| Abstract: | 本論文研究瑪格麗特．愛特伍(Margaret Atwood)的《瘋狂亞當三部曲》(MaddAddam Trilogy)──《末世男女》、《洪荒年代》與《瘋狂亞當》。根據德勒茲(Gilles Deleuze)以「貫穿力」(transversality)評論普魯斯特(Marcel Proust)將零散串接為一，形成風格，本論文分析愛特伍如何整合獨白、詩歌、講道、日記、日誌、對話與敘述等形式書寫故事，描繪未來世界，並提出三個面向探討人類主體性、社會關係以及環境問題，以呼應瓜達希(Felix Guattari)的「生態哲學」(ecosophy)。
本論文包含四章：（一）貫穿力；（二）有形與無形的牆；（三）遊戲；（四）「輸」樂園。第一章分析愛特伍如何串連各自獨立的部分並且統整在一個主題之下。第二章詳述父權持續統治的影響與衝擊。第三章呈現資本家如何獨占權力與資源。第四章探討獸性與人性之異同和界限。終章則以瓜達希的主張總結，呼籲回到初始，將世界還給自然。本論文構建文學與生態哲學之「創意組裝」(creative assemblage)，揉合愛特伍的批評小說、德勒茲的「貫穿力」與瓜達希的「生態哲學」，省思人為干預與重啟未來。
This dissertation studies Margaret Atwood’s MaddAddam Trilogy, including Oryx and Crake, The Year of The Flood, and MaddAddam. Based on Gilles Deleuze’s “transversality” which appraises how Marcel Proust puts parts into a whole to reach a style, this dissertation aims at analyzing how Atwood integrates different literary forms—monologue, hymn, sermon, diary, journal, dialogue and narrative—to tell a story which illustrates the future world and issues her ecological arguments echoing with Felix Guattari’s ecosophy about human subjectivity, social relations and environments.
Starting with Introduction, this dissertation in addition contains four main chapters: (1) Transversality, (2) The Visible and Invisible Walls, (3) Games, and (4) Paradice Lost. Chapter One analyzes how Atwood puts self-reliant parts well interconnected and conformed within a critical theme. Chapter Two details the overwhelming patriarchal influences and impacts upon the future. Chapter Three portrays capitalists’ dominion depriving the world of power and resource. Chapter Four elaborates the difference and boundary between animality and humanity. Arriving at the conclusive chapter similar to Guattari’s ecosophy, the start from “zero” calls for returning the world to nature, this dissertation contributes a creative assemblage of literature and ecosophy—Margaret Atwood’s fiction as criticism, Deleuze’s transversality, and Guattari’s ecosophy—which urges reflections upon human intervention and a rebooting future. |
