| 摘要: | 本論文援引精神分析、社會學、政治學、經濟學、媒體閱讀、歷史化和先驗分析等研究框架對串流平台Hulu所推出電視影集11. 22. 63進行跨領域文本分析，試圖捕捉戰後英雄的問題化基礎。
不同於在老大哥（殘酷的現代性進程）裹脅下藉由流放感官碎片的反烏托邦英雄們所體現的“棄的故事”與被壓抑者的還返，11. 22. 63 角色們為涉入甘迺迪刺殺事件進而改寫未來所做的不懈奮鬥迫使我的閱讀發展出數個奠基於後精神分析－馬克思主義範疇的概念，例如流動全能、失敗英雄的再生產、夢的召喚及時間與空間的武器化，以描繪出從冷戰期間大規模核戰草木皆兵的惘惘威脅，過渡到後冷戰時代由無遠弗屆的“天網”所帶來的啟示。進一步以11. 22. 63和電影《甘迺迪》兩者所呈現的奧斯華對比，發現使前者歧路亡羊的陰謀論，被後者完美移植上液態現代性所解構出的資訊化時空，並以某種個人化的轟動姿態轉譯為新自由主義下的超人潛能。
本文的另一個重點在發展艾米·彭和沃爾夫提出的speculation概念和其在當代作品中的冷戰迴響。文章核心從精神分析的角度重申主體的地位，並試圖論證11. 22. 63中的藉由角色們投入德勒茲式的戰爭機器來“救贖象徵”（甘迺迪刺殺案），進而以層層犧牲作為賭注的未來性隱含的恐怖的失衡及崇高與恐怖二蹠點之潰裂與交疊，此乃戰後英雄遭遇的現代性僵局：創造性破壞作為資本主義不懈更迭的死亡驅力。
;This dissertation extrapolates the problematic of the post-war heroes in the television series 11. 22. 63, premiered on February 15, 2016, on Hulu, through a textual analysis across a variety of interdisciplinary frameworks including psychoanalysis, sociology, politics, economics, visual studies, historicist and transcendental approaches.
Different from previous dystopian heroes who “drop out” into the immediate flows of perception which serve as the “return of the repressed” under the inhumane gaze of the big brother, the characters’ restless effort to change the past—the JFK assassination— in order to revamp the future compels my reading to conceptualize several post Freudian-Marxist notions such as the omnipotence of mobility, reproduction of failed heroes, the interpellation of dream, and the weaponization of time and space. I use these concepts to delineate a transformation from the threat of the atomic destruction in the Cold War up to the apocalyptic revelation of the “ubiquitous Net” concerning Zygmunt Bauman’s liquid modernity in the post-war era. I compare the character Oswald in Oliver Stone’s JFK and 11. 22. 63, looking into how the predicament of a dystopian hero trapped into unfathomable conspiracies in the former is, in the latter, resolutely affirmed as the neoliberal potentials of the individual’s struggle for sensation seeking.
Another focal point of this dissertation concerns developing the conception of speculation according to Aimee Bahng and Mark J. P. Wolf, but regarding the Cold War reverberations in these contemporary works. The crux of this dissertation restates the status of the subject in terms of psychoanalysis and argues that futurities illustrated in 11. 22. 63 implicate a breakdown of the balance of terror, overlaying the antipodes of the speculative sublime and the speculative horror. This outcome is escalated by the characters’ sacrifice to resurrect the symbol of the Home, with resort to the Deleuzian war machine. The post-war heroes encounter a deadlock of modernity: the groundbreaking power of creative destruction which circulates as the impetus of capitalism. |
