石曉楓Hsiao-Feng Shih2019-08-122019-08-122012-03-??http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/81572本文試圖由「身體」角度切入，觀看余華《兄弟》裡廣場身體的狂歡演出。全文分別由「公眾廣場上的身體演出」、「低下書寫與政體嘲諷」及「在時間裡變異的身體」三方面進行論述。「公眾廣場上的身體演出」部分指出性的宣揚、暴力的鬥毆以及死亡的展演，為劉鎮此一公眾廣場的重要景觀。「低下書寫與政體嘲諷」部分指出余華的修辭策略，在於藉由身體孔穴的低下書寫，表達戲仿意圖，並將上述的「卑賤身體」與象徵意義上的「莊嚴身體」並置，從而產生嘲諷效果。「在時間裡變異的身體」一節則以「展示的身體」、「高大的身體」、「代罪的身體」以及「哭泣的身體」，分別統攝李光頭、宋凡平、李蘭、宋鋼等人物形象所表徵的意義。末以論述《兄弟》對於身體血統論的顛覆以及狂歡意義的討論作結。Based on Mikhail Mikhailovich Bakhtin’s carnival theory, we analyzed the characters’ carnival performance in Yu Hua’s Brother from the perspective of the “body.” First, we explained how sex, violence and fighting, and death were important events that were held in the public square of Liu town （劉鎮）. Second, we discussed how Yu Hua （余華） often creates parodies through passive writing of the cavities of the human body. He also tends to combine “the servile body” and “the solemn body” as a method of ridicule. Then, we use “the displayed body,” “the sublime body,” “the scapegoat body,” and “the crying body” to highlight what the characters Li Guangtou （李光頭）, Song Fanping （宋凡平）, Li Lan （李蘭）, and Song Gang （宋鋼） represent, respectively. This study concludes that Brother is an instinctive subversion.《兄弟》巴赫金余華狂歡節身體BrotherMikhail Mikhailovich BakhtinYu Huacarnivalbody