本論文以尚-保羅‧沙特的存在主義哲學及斯拉沃熱‧紀傑克的精神分析觀點來討論唐尼‧莫里森的小說《最藍的眼睛》中，非裔美國人的「自愛」(self-love)如何幫助他們呈現自身在白人社會中的定位和價值。我認為莫里森以設定主角一家(The Breedloves)為「純黑」來對照「混血」非裔美國描述了人們如何在一個文化價值不同於自身種族背景的社會中展現自我。因此，我以書中人物適應社會遇到的挫折來證明他們內心的「自愛」如何變相地透過「自鄙」(self-debasement)的行為模式去迎合白人社會的價值進而安頓在群體中。以此觀點，我欲表示在此框架下的非裔美國人之所以會產生自我懷疑及自卑感終究是歸於他們本身的「自愛」而非「自恨」(self-hatred)。論述包含四個部分。緒論介紹作者唐尼‧莫里森與理論家尚─保羅‧沙特、斯拉沃熱‧紀傑克的背景、回顧以角色「自恨」作結之文獻，以進一步連結到本論文之理論結構及論點。第一章闡述唐尼‧莫里森的小說《最藍的眼睛》裡的角色如何透過白人的審美觀及「外界眼光」(outside gaze)來看待自己以致產生自我厭惡感(self-loathing)。欲證明各種「自鄙」的行為及情緒皆來自於角色本身的「自愛」而非「自恨」，我將以沙特定義的「厭惡」(repugnance)和「恨」(hatred)來詮釋純黑和混血黑人如何化悲憤為力量、突破社會框架來證明自我。第二章我以沙特定義的虐待者(sadist)及被虐者(masochist)、紀傑克的拉岡式精神分析來歸納純黑非裔家庭(The Breedloves)展露「自愛」的兩種基本方式，以及主角琵可拉(Pecola Breedlove)的「自愛」如何有症狀(symptom)地展現使她超脫自我。結論重申前述兩章概要和本篇論文的分析結果。

This thesis attempts to counter a generally acknowledged view in regard to the essence of hatred, observed as a lack of interracial appreciation within the Afro-American assemblage in Toni Morrison’s first published novel, The Bluest Eye. In effort to explain my standpoint, I endeavor to bring lights from existential phenomenology and psychoanalytical philosophy respectively from Jean-Paul Sartre and Slavoj Žižek. To support my argument, I will examine diverse visions of cultural studies and literary reviews, and provide textual evidence of self-love to defy critics’ remarks of self-hatred in the characters. According to Toni Morrison, the aesthetic principle in the white society is the prying eye, a “secret” which causes the Afro-American subjects’ social inferiority and self-loathing. Despite different approaches to analyze this scenario in the black community, critics conclude that the Afro-American characters’ self-debasement is a sign of their hatred toward the self and other blacks along with the internalization of white aesthetics. In this thesis, I argue that the characters’ self-debasement/self-loathing is only a “mode” of nature to adapt to the norms of white society rather than an inherent hatred toward their own blackness as critics imply. I analyze all occurrences critics see as Afro-Americans’ self-hating gestures with theories concerning the look and desire in one’s building of identity based on “self-love.” Thus I consider all characters’ negative emotions (such as shame, anger, and repugnance) toward themselves and others are merely “temporary presentation of the ego” owing to their frustrated self-love; therefore, “self-debasement” should not be considered as hatred of any sort. To support my ideas, I use Jean-Paul Sartre’s notions of “ego’s transcendence,” “hatred’s dubitable nature,” and
“two patterns in the being-for-others” to examine characters’ self-love responding the “outside gaze” in terms of the “mode of being”; to continually justify self-love, I apply Slavoj Žižek’s notions of “symptom,” “ideological fantasy,” and “unconscious desire as the Thing” to focus on the protagonist’s self-identification with others based on her “symptomatic” gestures of self-love in the “mode of being.”

論文審定書 i
Acknowledgement ii
摘要 iii
Abstract iv
Introduction 1
Toni Morrison
Jean-Paul Sartre
Slavoj Žižek
Literature Review
Theoretical Framework
Thesis Structure
Chapter One: Projecting the Outside Gaze: Interpreting Characters’ Racial Self-Loathing in the Look 53
Pecola’s Relief of Frustration with Self-Love
Pecola’s Obsession of Objects of Love
The Ambivalent Nature of Self-Love
Pauline’s Devotion into Hard Work with Self-Love
Cholly’s Passion of Funkiness with Self-Love
Geraldine’s Self-Built Quality Life with Self-Love
Chapter Two: Patterning the Map of Self-Love: Analyzing Symptomatic Gestures in the Being-for-Others 79
Cholly’s Sadist Expression of Self-Love
Pauline and Pecola’s Masochist Expression of Self-Love in Liberation
Pecola’s Symptomatic Gestures of Self-Love before Liberation
Symbolization of Pecola’s Self-Love after Liberation
Pecola’s Imaginary Identification in the Thing
Conclusion 105
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