曖昧的烏托邦：重新審視《美麗新世界》和《暴風雨》

Abstract

阿道斯·赫胥黎（Aldous Huxley）的《美麗新世界》（Brave New World）在過去常被視為反烏托邦文學（Dystopian Literature）的經典作品，而其標題的出處，威廉．莎士比亞（William Shakespeare）的《暴風雨》（The Tempest）也因其結局被劃分為喜劇（Comedy）。本文重新解讀兩部作品中的烏托邦和反烏托邦元素，將兩部作品抽離傳統定義的框架，並檢視其結局所潛藏的可能性和希望。首先，我以傳統烏托邦和反烏托邦文學的脈絡分析兩部作品的傳統定位。接著，我以弗里德里克·詹明信（Fredric Jameson）等學者在20世紀晚期採用的新烏托邦閱讀法（New Utopian Reading）來點出作品中挾帶的雙重性以及其所反映的歷史脈絡。最後，我透過恩斯特·布洛赫（Ernst Bloch）的希望理論來探討兩位作者所描繪的開放式結局以及其所暗示的願景。透過以新的視角分析這兩部作品，讀者可以發現，烏托邦和反烏托邦並不是完全對立的兩端，而是彼此交融、曖昧難分的社會現象。本文旨在重新詮釋文本中角色和情節的雙重性（duality），試圖從中找尋平衡點及其所指認的歷史意義。Aldous Huxley's Brave New World has been regarded as a classic work of dystopian literature in the past, and the source of its title, William Shakespeare's The Tempest, has been classified as a comedy because of its ending. This paper re-examines both works' utopian and dystopian elements, taking them out of the framework of traditional definitions and exploring the possibilities and hopes hidden in their endings. First, I look at the traditional positioning of the two works in the context of conventional utopian and dystopian literature. Next, I identify the duality of the works and the historical contexts they reflect by taking the New Utopian Reading method adopted by scholars such as Fredric Jameson in the late twentieth century. Finally, I investigate the open ending and the vision both authors portray through Ernst Bloch's hope theory. By analyzing these two works from a new perspective, readers can discover that utopia and dystopia are not opposing ends of the spectrum, but intertwined and ambiguous social phenomena. This paper aims to reinterpret the duality of characters and plots in the texts in an attempt to find a balance and the historical significance they denote.