書寫軀體與邊界：瑪格麗特‧愛特伍《盲眼刺客》與《末世男女》中的疾病、怪物、與主體性
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2005
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本文闡述瑪格麗特‧愛特伍《盲眼刺客》與《末世男女》中的人、我辯證。在「人體為社會權力運作場域」的論述前提下，試圖一窺父權體制與基因轉殖浪潮對身體自治(bodily autonomy)與身體完整性(bodily integrity)等概念的影響。行文中援引克莉斯蒂娃(Kristeva)的「棄卻」(abjection)理論、西克蘇(Cixous)的「陰性書寫」(ecriture feminine)、哈勒葳(Haraway)的「動物-人-機器宣言」("Cyborg Manifesto")、格萊(Gray)的cyborg公民權、傅科(Foucault)對自然論的批判、及德勒茲(Deleuze)和瓜達里(Guattari)的「流變」("becoming")等各家理論，探究人、我邊界論述的複雜性，並從女性疾病(female malady)與人性中的怪物性(human monstrosity)兩觀點揭示主體的建構、解構與再建。如果《盲眼刺客》點出女性在社會／父權食人主義(societal/patriarchal cannibalism)下維持身體邊界的困難，《末世男女》接著質問人與動物／怪物似有若無的界線。
全文分四部分。導言簡述軀體與邊界的關聯性，處理含括身體政治(body politics)、婦科病理學(gynecologic pathology)、飲食疾患(eating disorders)與生物工程為人類帶來的衝擊等議題。第一章闡釋《盲眼刺客》中女性從棄卻暗處到主體破蛹而出的過程。雖然女性可藉由拒絕進食(food-refusing)或淋浴成癮(obsessive showers)等動作消極的要求（或恢復）自我與他者的界線，女性書寫不僅有助於主體與他者抗衡，並可進而與他者協商。第二章剖析《末世男女》所呈現的「怪物性」，指出所謂「怪物性」並非與生俱來，而是詭譎多變的文化建構。當「器官豬」與「克雷科人」等基因改造生物戳破「人類為萬物之靈」的統治假象及「人類中心說」(anthropocentricism)的文化權謀，基因工程師克雷科的角色進一步彰顯「製造者」(homo faber)在科學與資本主義勾結下醜陋的一面。結論重申主體塑造絕非單靠與他者分離、對立；相反地，容忍與尊重方能有助於人、我和平共存。
This thesis expounds the dialectic between self and other in Margaret Atwood's The Blind Assassin (2000) and Oryx and Crake (2003). Regarding the human body as the locus of social powers, it ventures on an investigation of bodily autonomy and bodily integrity in the age(s) of patriarchy and/or transgenics. By referring to Julia Kristeva's "abjection" theory, Helene Cixous's ecriture feminine, Donna J. Haraway's "Cyborg Manifesto," Chris Hables Gray's cyborg citizenship, Michel Foucault's critique of naturalism, as well as Gilles Deleuze and Felix Guattari's "becoming," this thesis attempts to delve into the complexity of boundary discourses in order to reveal the construction, deconstruction and reconstruction of subjectivity from the perspectives of female malady and human monstrosity. As The Blind Assassin brings to the fore the difficulty for women to retain their bodily boundaries against societal/patriarchal cannibalism, Oryx and Crake further questions the filmy boundary between humans and animals/monsters. There are four parts in this thesis. The Introduction briefly touches upon the correlation between body and boundary, tackling issues like body politics, gynecologic pathology, eating disorders and the impacts of bioengineering on human beings. Chapter One explicates women's emergence from the shade of abjection to the stage of subjectivity in The Blind Assassin. Where food-refusing and obsessive showers help women (re)claim their subjectivity by negatively drawing a line between self and other, female writing shapes up subjects that do not simply counter the other but negotiate with it. Chapter Two addresses the mutable construction of monstrosity in Oryx and Crake. While such bioengineered creatures as the pigoons and the Crakers prove that humanity is coupled with dominance whilst monstrosity is bound up with inferiority and marginality, the genographer Crake even attests to a monstrous form of homo faber (man, the maker, the tool user) when science colludes with capitalism. The Conclusion reiterates that subjectivity is not sustained through a detachment or a defense of the self from/against the other; instead, tolerance and respect are what account for the coexistence of humans and other species.
This thesis expounds the dialectic between self and other in Margaret Atwood's The Blind Assassin (2000) and Oryx and Crake (2003). Regarding the human body as the locus of social powers, it ventures on an investigation of bodily autonomy and bodily integrity in the age(s) of patriarchy and/or transgenics. By referring to Julia Kristeva's "abjection" theory, Helene Cixous's ecriture feminine, Donna J. Haraway's "Cyborg Manifesto," Chris Hables Gray's cyborg citizenship, Michel Foucault's critique of naturalism, as well as Gilles Deleuze and Felix Guattari's "becoming," this thesis attempts to delve into the complexity of boundary discourses in order to reveal the construction, deconstruction and reconstruction of subjectivity from the perspectives of female malady and human monstrosity. As The Blind Assassin brings to the fore the difficulty for women to retain their bodily boundaries against societal/patriarchal cannibalism, Oryx and Crake further questions the filmy boundary between humans and animals/monsters. There are four parts in this thesis. The Introduction briefly touches upon the correlation between body and boundary, tackling issues like body politics, gynecologic pathology, eating disorders and the impacts of bioengineering on human beings. Chapter One explicates women's emergence from the shade of abjection to the stage of subjectivity in The Blind Assassin. Where food-refusing and obsessive showers help women (re)claim their subjectivity by negatively drawing a line between self and other, female writing shapes up subjects that do not simply counter the other but negotiate with it. Chapter Two addresses the mutable construction of monstrosity in Oryx and Crake. While such bioengineered creatures as the pigoons and the Crakers prove that humanity is coupled with dominance whilst monstrosity is bound up with inferiority and marginality, the genographer Crake even attests to a monstrous form of homo faber (man, the maker, the tool user) when science colludes with capitalism. The Conclusion reiterates that subjectivity is not sustained through a detachment or a defense of the self from/against the other; instead, tolerance and respect are what account for the coexistence of humans and other species.
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瑪格麗特‧愛特伍, 《盲眼刺客》, 《末世男女》, 書寫, 軀體, 邊界, 疾病, 怪物, 主體性, Margaret Atwood, The Blind Assassin, Oryx and Crake, writing, body, boundary, malady, monstrosity, subjectivity