本論文企圖藉用一種新的角度，以保羅．里柯詮釋學中的挪用策略來闡釋
布雷希特戲劇，以符合布雷希特創作戲劇的精神：可以同時使用不同的角
度去探討一件事情．本文意圖闡發布雷希特戲劇中的另種看法；藉由辯證
法去闡釋挪用與離異之間的互動關係．里科明確的指出離異為挪用的配對
．若要仔細探討挪用，就必須也要同時研究離異．里科的挪用策略企盼至
終將它物佔為己有，而布雷希特的離異法則企圖疏離原本所熟悉的事物．
從表面上看，挪用與離異各異其趣；但從深層角度來看，它們之間似乎隱
藏著一種融合體的特性．在布雷希特戲劇中，挪用意謂著賦予舊題材一種
新的詮釋以符合時代精神．而離異則是在激起觀眾的批判精神，進而改造
自己，甚至社會．二者之間的融合性在於互補其不足，布雷希特一方面挪
用許多西方及東方的觀念及技巧去加強離異效果，另一方面挪用法則不能
在無距離感或無歷史化中發揮其效用．透過我的研究，布雷希特的多重異
質性的並置即是挪用與離異的融合．這種融合不僅能達到挪用策略的擴大
的自我，也能完成離異的自我反省／自我批判和自我整合．這種戲劇觀也
頗能符合後現代的精神：認識異己，融合異體．

This thesis aims to apply Paul Ricoeur's appropriation
to interpretBrecht's plays. Ricoeur in Hermeneutics and
the Human Sciences pointsout, "Distanciation [alienation]
is the counterpart of appropriation."The gist of
Ricoeur's appropriation is to "make one's own what
wasinitially alien." Brecht's alienation, on the other
hand, means "toestrange one's own what was initially
familiar." On the surface, itseems that appropriation is
not compatible with alienation; but, fromexamination of
the deep structure, there seems to be a synthesis
inthem. Appropriation applied to Brecht's plays is that
Brecht endowsthe old framework with a new iｗ．４etation
suitable for the zeitgeist.The function of alienation in
Brecht's plays is to encourage the audienceto question self-
evident facts, ready solutions, and perfections,in orderto
change oneself before one tries to change the society. The
synthesisof appropriation and alienation consists in their
mutual complementation.On the one hand, Brecht appropriates
various techniques and conceptsto implement the so-called
alienation effect. On the other hand, it isimpossible for
Brecht "to make one's own what was initially alien"
withoutdistanciation or historicization. Contrasting
appropriation with alienationis not only to justify the
notion of "another way of seeing" by thedialectic, but to
find out the syntheses or interactions of appropriationand
alienation. Brecht's "juxtaposition of multiple
heterogeneities" maybe seen as a fusion of appropriation
and alienation. This fusion canachieve not only an
enlarged self from Ricoeur's appropriation but alsoself-
reflection / self-critique and self-integration from Brecht's
alienation.This dramatic viewpoint can correspond to a
very prominent strategy ofpost-modernism: to know the other,
and then to merge with the other.
This thesis aims to apply Paul Ricoeur's appropriation