書寫「異托邦」：瑪格麗特‧愛特伍《盲眼刺客》之空間與休閒

Abstract

本文闡述瑪格麗特‧愛特伍《盲眼刺客》中女性空間及休閒經驗的困境。將休閒視為私人空間的論述前提下，試圖窺探女性透過空間的挪用以書寫顛覆權力結構。文中援引性別空間及休閒等理論，探究女性在空間的訴求上所面臨的兩難，女性休閒經驗遭受的貶抑以及休閒空間作為一個反抗壓迫的場域。全文共分成五個部分。引言簡述在性別領域中的地理政治議題以及休閒理論的演進。第一章闡釋《盲眼刺客》中女性空間經驗的匱乏。無論是在公領域或私領域女性都很難享有私人空間。私領域，如家庭空間意味著家事及性愛的勞動。能動性的限制使得女性在公領域，如城市空間裡閒逛是不合宜的。第二章剖析女性休閒經驗的限制，指出女性受制於「非休閒」的窘境，被迫培養及從事非自願的休閒活動。第三章提出休閒空間化的概念，將休閒視為異質空間，亦即傅科所謂的「異托邦」。主角透過書寫獲得一個發聲的空間，「異托邦」不僅有助於主體的重塑，並進而提供了反抗壓迫者的場域。結論重申空間及休閒對於主體發展的重要性以及「異托邦」作為一個純我空間提供重新書寫自我的潛力。This thesis expounds the predicament of women’s spatial and leisure experience in Margaret Atwood’s The Blind Assassin. Considering leisure as personal spaces, this thesis intends to investigate the appropriation of space by women through the analysis of narrative as subversion to power relations. By referring to theories of space and gender, as well as concepts of leisure theories, this thesis attempts to scrutinize the dilemmatic situation of women’s access to space, the disempowerment of self by the devaluation of leisure experience, and leisure space as a means of resistance to external dominance. Except for the purpose of feminist leisure research, this study hopes to contribute to the agenda of ensuring personal space for women by revealing how fictional world may parallel and reflect the real society. This thesis includes five parts. The Introduction briefly addresses issues like geographic politics in the sphere of gender and the shift of leisure theories. Chapter One explicates the spatial entrapment of women in the novel, indicating a sense of misplacement both in the private and the public spheres. Chapter Two analyzes the jeopardy of women’s leisure from anti-leisure perspective, discussing the non-voluntary leisure activities imposed upon women. Chapter Three addresses the conceptualization of leisure as other spaces or, in Foucault’s terms,‘heterotopias’, ‘spaces’ of autonomous choice, which allow for the possibilities of resistance to male dominance. Finally, the Conclusion reiterates the importance of space and leisure and the potential of ‘heterotopias’ as leisure space to rewrite the script of the self.