本研究探討傑拉德·維茲諾的《死去的聲音：新世界自然的苦痛》（1992）中獨特的敘事風格，側重分析他對挑戰傳統的角色—搗蛋鬼的解讀。針對此作品，當前學者如凱瑟琳·休謨、諾拉·巴里和布拉德利·蒙斯馬等已著重於搗蛋鬼人物如何有利於人類，而本文旨在探究維茲諾在文中寓意更為深遠的妙技—瓦納基遊戲。主角巴格塞扮演各種動物形態，模糊了人類與動物之間的界線，並解構了非人類物種在自然中的異化；此外，本研究闡明了維茲諾巧妙地超越人類中心主義並豎立一個包羅所有生物的「我們」的目標。然而，本文質疑現有對《死去的聲音》的後現代分析，認為它們未能充分理解維茲諾式多物種的相互連結的世界觀。借鑑唐娜·哈拉威「持續存在」的概念，本研究以一種生態批評的視角，將搗蛋鬼人物視為促進人類與自然界之間共生關係的媒介。

This thesis explores the unique narrative style in Gerald Vizenor’s Dead Voices: Natural Agonies in the New World (1992), with a focus on his interpretation of the trickster figure as a challenge to traditional roles. While scholars such as Kathryn Hume, Nora Barry, and Bradley Monsma have concentrated on the trickster figure’s potential to benefit humanity, this study delves into Vizenor’s more profound use of the wanaki game in the text. The protagonist, Bagese, embodies various animal forms, blurring the boundaries between humans and animals and deconstructing the alienation of non-human species in nature. The thesis thus disputes existing postmodernist analyses of Dead Voices, arguing that they have not fully grasped Vizenor’s worldview of multispecies interconnectedness. Vizenor’s goal is to transcend human exceptionalism and establish an inclusive “we” that encompasses all living beings. Drawing on Donna Haraway’s concept of “staying with the trouble,” this study suggests that we view Vizenor’s trickster figures as mediators fostering a symbiotic relationship between humans and the natural world.

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