權力重置：娥蘇拉•勒瑰恩之地海傳說的女性閱讀

Abstract

本文探討娥蘇拉•勒瑰恩(Ursula K. Le Guin)在地海傳說後三部曲中呈現的轉變，以及地海世界中的權力重置如何展露勒瑰恩逐漸萌發的女性意識。本研究的主要文本即為地海系列的六部曲：《地海巫師》、《地海古墓》、《地海彼岸》、《地海孤雛》、《地海故事集》、《地海奇風》。 第一章試圖論證地海首三部曲受制於英雄敘事的傳統，其中設定的魔法世界實為一高度父權化的社會。然而，隨著第四部曲的出版，地海世界逐漸有所改變。於是第一章末段將專究勒瑰恩在《地海孤雛》中傳達的訊息，包括對地海世界之階級建構的不信任和女性觀點的反思。 第二章針對第五部曲進行文本分析。《地海故事集》挑戰且進而推翻了地海中既定的權力及性別架構，因此本章欲解讀勒瑰恩如何解構該奇幻世界中的父權階級和文化。 第三章以《地海故事集》的末篇故事＜蜻蜓＞揭序，此中篇小說扮演了第五部曲和第六部曲的橋樑。隨後，本章將檢視《地海奇風》中父權體制的崩解和民主秩序的崛起；此權力結構的轉變除了引領地海邁向一自由、民主和平等的國度，也隱含了勒瑰恩對現實世界的反省和期盼。

The thesis attempts to probe into how Ursula K. Le Guin re-discovers the Earthsea world in the latest three novels and how the power shifts in the Earthsea Cycle manifest her evolving feminist awareness. The main texts that the thesis deals with are Le Guin’s Earthsea Cycle, which includes A Wizard of Earthsea (1968), The Tombs of Atuan (1971), The Farthest Shore (1972), Tehanu (1990), Tales from Earthsea (2001), and The Other Wind (2001). In the first chapter, I argue that the Earthsea world represented in the first trilogy is highly patriarchal for the first three novels are centered on the hero tales to a great extent. With the appearance of the fourth book, Earthsea is gradually changing, however. In the end of the first chapter, the discussion will therefore concentrate on Tehanu, in which Le Guin begins to show her feminist reflection and her distrust of the wizardly world-building. The fifth book, Tales from Earthsea, provides quite a few pivotal elements that challenge and even subvert the seemingly rigid power structure and gender construction in the first trilogy. As a result, the main task of the second chapter is to decipher how Le Guin deconstructs the artificial hierarchy and the male-dominated culture in the wizardly world. In the beginning of the third chapter, I read “Dragonfly,” the last story in Tales, as the bridge between the fifth and the sixth volumes. Then, I proceed with an investigation into the sixth book—The Other Wind. In Wind, the wizardly hierarchy finally collapses and Earthsea is going toward a democratic order that promises equality among all. To conclude, the shifts between the first and the second trilogies are in fact the movement from an order of oppression to that of freedom, which faithfully projects Le Guin’s reflection upon and expectations for the real world.