本論文探索山本凱倫小說《橘子回歸線》所呈現之另類製圖學。
藉由Arcangel 及Rafaela兩個角色與可移動的橘子回歸線(Tropic of Orange)及洛杉磯地理變形的關聯，本論文主張《橘子回歸線》體現了另類的製圖學。換言之，山本藉由鬆動北回歸線，使其流動化，導致洛城地理變化而塑造了將洛城重新繪製加以變形的另類製圖學。在眾多洛城研究方法中，我採用Edward W. Soja的「第三空間」(Thirdspace)概念及其洛杉磯作為後現代都市文根基之研究計劃作為理論架構。此外，本文經由Marina Warner所著之<<Fantastic Metamorphoses, Other Worlds: Ways of Telling the Self>>所探討之文學「變形」(metamorphosis)傳統與 Soja的「第三空間」企圖將地理空間上的流動性與文學史上之變形傳統做一連結，探求《橘子回歸線》中以另類製圖學所呈現之洛城與其亞墨移民故事。
第二章的主軸圍繞在擁有墨裔美國人身分的Arcangel，藉由魔幻寫實主義角度探討此角色與Soja「第三空間」的對話關係。 藉由檢視隱涵在Arcangel的魔幻寫實實踐即其「 阿 列 夫 」 視野（ Aleph vision）與魔幻寫實的身分，本文主張由正義(justice)與多元性(multiplicity)組成的「第三空間」由此產生。換言之，Arcangel的「 阿 列 夫 」 視野（ Aleph vision）中所呈現的空間與其轉化性(transformative)移民遷徙之旅宣示了魔幻寫實主義式的空間作為「第三空間」的可能性。第三章主要探求小說中對於另一主角, Rafaela,「變形」(metamorphosis)為蛇之情節處理。不同於主張此小說之母性論述(maternal narrative)即是阿茲提克本土主義(Aztec Nativism)的解讀方式，我提出山本在另類地理學的脈絡中對於「變形」(metamorphosis)的運用不只是遵從此文學傳統的表現，更是一種易變性(mutability)與多元性( multiplicity)特色的展現。本章闡明Rafaela的變形為蛇藉由文學的變形傳統實則呈現另類的母國/母親形象。末章除了剖析Bobby的泛太平洋族裔身分之於拓展《橘子回歸線》原本南北為主軸視野的重要性以外，強調小說結尾Bobby鬆手捨棄橘子回歸線的動作象徵由疆界(border)而生之差異分裂已被一個無疆界無分野的未來(a borderless future)取代。

This thesis is a study of the alternative cartography in Karen Tei Yamashita’s Tropic of Orange. By focusing on the two characters, Arcangel and Rafaela, with their relation to the mobile Tropic of Orange and the accompanying Los Angeles’s geographical metamorphosis, I argue that an alternative cartography is achieved in Tropic of Orange. In other words, through mobilizing the Tropic of Cancer and the metamorphosing of the city of Los Angeles, Yamashita achieves an alternative cartography which constitutes a re-mapping, and metamorphosis of the city of Los Angeles. Among the diverse approaches applied to L.A., I center on Edward W. Soja’s notion of “Thirdspace” and his project of postmodern metropolis in Los Angeles as my theoretical framework. Besides, I want to connect the geographical mobility with the tradition of metamorphosis and see how the changing geography could be related to the tradition of "other worlds," as Marina Warner argues in Fantastic Metamorphoses, Other Worlds: Ways of Telling the Self. Drawing on Soja’s concept of Thirdspace and Warner's study in metamorphosis, I aim to examine the presentation of Los Angeles as alternative cartography in Tropic of Orange in relation to immigrants from Asia and Mexico.
Chapter two centers on the Mexican American character, Arcangel. The discussion dwells on the intersection of Arcangel and Soja’s concept of Thirdsapce through the lens of magical realism. With the examination of the practice of magical realism as inscribed in Arcangel’s Aleph vision and magical realistic identity, I argue that a form of Thirdspace, a space of justice and multiplicity, is achieved. In other words, the representation of place/space in Arcangel’s Aleph vision and the space enclosed in his transformative migration is a space of magical realism that manifests the spatial fantasy of Thirdspace.
My third chapter focuses on Yamashita’s treatment of Rafaela’s metamorphosis to the serpent. Different from Li’s reading of the maternal narrative that is tied to Aztec nativism, my reading posits that more than conforming to the tradition of shape-shifting, Yamashita’s employment of metamorphosis in the context of alternative geography exhibits the characteristics of mutability and multiplicity. Focusing on the implication of the tradition of metamorphosis, I argue that Rafaela’s metamorphosis exhibits an alternative mother figure.
In the concluding chapter, in addition to concentrating on Bobby’s Pan-Asian character and its significance to broaden the scope of Tropic of Orange, I consider that Bobby’s act of letting go the Tropic of Orange symbolizes the division arising with the border is replaced by the emergence of a borderless future.

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