摘要：
後現代主義為一複雜且矛盾的文化現象,不論是在文學、藝術、科學等方面。它的定義也因此而多元化又彼此矛盾,這也是後現代主義的精神/本質。 此外,它和現代主義有很密切的關係;許多學者認為後現代主義乃現代主義之延續,因為前者的論述大都繼承/探討或企圖顛覆/改革後者的理論。
本論文旨在建構後現代文學理論的概況,因為「後現代」一詞(postmodern)本身既複雜又充滿了矛盾,也因此,任何標榜「純粹」或「全面」的後現代理論實乃神話。本論文的重點在探討「後設小說」(metafiction)與「戲擬」(parody)的後現代矛盾本質,因為兩者皆為典型的後現代文學表現模式與技巧;也就是說,兩者皆標榜後現代藝術作品中無法消弭的矛盾現象──將批評與創作鎔於一爐。 此外,兩者皆具有「互為文本性」(intertextuality)以及「自我映射性」(self-reflexiveness)等特性;但兩者最大的差異在於「後設小說」主要應用在小說創作的文本中來探討小說理論;而「戲擬」可應用在各種型式的藝術創作上。
本論文分兩部分:第一部分先探討有關「後設小說」的理論與爭議,再以艾柯的《玫瑰的名字》與傅敖斯的《魔術師》來印證。 第二部分則先探討有關「戲擬」的理論與爭議,再以拜倫的《唐璜》與雪佛的《戀馬狂》來證明「戲擬」乃一種「跨文類」的藝術創作型式。

Abstract:
Metafiction and parody are not new phenomena by any means, but their ubiquity in all the arts of this century has seemed to me to necessitate a reassessment of both their nature and their functions. To be specific, both metafiction and parody are strategies that reveal the postmodern paradox--they install and then subvert the very concepts they challenge. In other words, they both have to “use and abuse” the “target text,” that is, “another work of art or, more generally, another coded discourse” that they try to problematize. Besides, intertextuality and self-reflexivity are two important features that characterize both metafiction and parody. Nevertheless, they still differ in some aspects. To be concise, metafiction can be described as chiefly a strategy in writing "fiction about fiction" (my coinage), whereas parody is chiefly a strategy of "art about art." Both of the two strategies are widely applied to challenge some fixed, fetishized ideas or art forms within the parodying text and thus illustrate the contradictory nature of postmodernism. In this dissertation what I try to do is to cite some appropriate examples from some metafictional/parodic works (not restricted to the genre of fiction).
This dissertation consists of two parts, and each part comprises three chapters. The first chapter of each part respectively reviews the theories of metafiction and parody as well as their relationship to postmodernism. In so doing I intend to achieve a mapping of postmodern poetics or problematics. Part I explores the metafictional paradox, while Part Two the parodic paradox. Besides, Part I examines two metafictional novels, whereas Part II examines some literary genres other than fiction.
In Part I, having examined the theories of metafiction and its relation to postmodernism, I try to analyze in Chapter Two Eco's the Name of the Rose, which challenges some realist conventions in fiction, such as chronological plots and omniscient narrators. Furthermore, it foregrounds the postmodern paradox by installing and subverting the text it parodies. In NR Eco intentionally dramatizes several problematic aspects of the novel as genre while narrating the story, such as the palimpsest/intertextual sources and multiple narrative points of view. In each text of the palimpsest sources of the novel, one text is set over another text and one text is read through another text. More complicatedly, in each text there is an Author physically outside the text and a fictional self--the authorial mediator--inside the text.
In Chapter Three, I explore John Fowles’s The Magus, a complex and lengthy metafiction, through a discussion of its narrativizing the metafictional paradox, for it foregrounds the process of constructing a fictional illusion (as in conventional realist fictions) of the provisional boundaries between art and life, fiction and criticism, authorship and readership, as well as the strategies of deconstructing that illusion.
In Part II, to prove my theory that parody is a “cross-genre” and has no “transhistorical” definitions and uses, after reviewing the theories of parody I analyze Byron’s verse mock-epic--Don Juan--and Peter Shaffer’s supposedly psychological play—Equus, by uncovering the parodying double-voicedness (as suggested by Bakhtin) in them..
In Chapter Two I examine Byron's Don Juan (DJ), which is a mock-epic in which there is a parodic "dialogic hybrid" (Bakhtinian concept of parody) that consists of two contesting registers of discourse--the epic tradition and a reaction to the limitation of the epic as genre, which is called by Bakhtin a tendency toward "novelization," namely an impulse toward a more free and flexible art form. It can happen in all kinds of literary genres. Byron's DJ shows some modernist concerns as well as some postmodernist ones. For example, it realizes the Romantic aesthetic value of genius, originality and individuality in challenging the epic conventions, for they bring about epic distance from contemporaneity with recourse to a national heroic past as the subject matter.
Chapter Three is titled as “The Anti-Oedipus in Shaffer’s Equus: A Parodying Schizoanalysis.” This play reveals an intentional hybrid in its dialogized contesting registers of discourse: the dominating Freudian psychoanalysis and the parodying/contesting schizophrenic/masochistic behaviors of a teenager, Alan, which echo Deleuze and Guattari’s schizoanalysis in their collaborated works: Anti-Oedipus (1984) and A Thousand Plateaus (1988).

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