作為小說興起的濫觴，丹尼爾．狄福的《魯賓遜漂流記》對於後世的文學一直有著深遠的影響。傳統上批評家認為《魯賓遜漂流記》是一本嚴肅清教徒的精神性自傳，並雜揉強烈的理性主義色彩。但基於近代對於《魯賓遜漂流記》的改寫、重新檢視之潮流，本論文透過檢視小說中的不一致處、過度重複及與清教精神相牴觸之處，論證《魯賓遜漂流記》傳達了更深層的心理運作。以此觀之，魯賓遜的焦慮感不只是展現在故事情節裡，更影響其敘事上的結構與再現。
　　本論文透過回顧佛洛伊德及拉岡的焦慮概念，指出焦慮情感並非沒有對象，而是指向一個無法符號化的對象。焦慮因此具有不斷試圖將未知威脅對象化並帶往想像層處理的重覆特色。因此焦慮對於主體形構過程不但至關重要，更反映在第一人稱敘事中的文本再現。就此觀點而言，《魯賓遜漂流記》中大量事物的描述及魯賓遜本人時而模稜兩可的態度不能說是贅筆，而是反映主體急於尋找焦慮對象，進而強化身份認同的過程。
　　透過回顧《魯賓遜漂流記》，本論文也對艾恩．瓦特在《小說的興起》一書所提出的形式寫實主義做了一定程度的回顧及修正。形式寫實主義並非只是單純透過外在事物的描寫達到寫實效果，更反映了現代主體在面對外在環境時所伴隨的焦慮感。小說的興起因此並非完全是一種美學觀點的轉變，也是反映十八世紀啟蒙時期人對自我興趣、身分認同、外在社會乃至個人心理的產物。

Robinson Crusoe, a pivotal work in the rise of the novel, is widely regarded as a puritan’s spiritual autobiography which expresses one’s struggle with personal faith and reason. Based on the current trend of revisiting and rewriting Robinson Crusoe, this thesis examines its inconsistencies, ostensible repetitions and contradictions to puritan ethics. It argues all these narrative operations reveal deep psychological mechanism in one’s mind. Furthermore, these “narrative anxiety” as I shall call it and elaborate, become the backbone of Defoe’s Robinson Crusoe.
Given the deep psychologized narrative tendency in the novel, I will return to the root of psychoanalysis to discuss Robinson Crusoe’s source of anxiety. As Lacan tells us anxiety is “not without an object;” it further points to one’s innermost desire, “an object that cannot be symbolized.” Therefore, when one suffers from anxiety, it compels the subject to substitute his anxiety for something concrete and further into the imaginary order both provisionally and repeatedly. Thus anxiety is not only a crucial element for identity formation but also a key affect which reflects onto one’s first-person narrative textually. In this regard, Crusoe’s first-person narrative brings anxiety into textual representations, notably, the great amount of things and Crusoe’s ambivalent attitudes cannot be simply judged as immature writing; instead, they reflect a process which the subject aims to neutralize and deal with his own anxiety.
Through revisiting Crusoe’s narrative, this thesis reworks some key problems in Ian Watt’s notions of formal realism. By doing so, one can see formal realism does not simply aim to be real by inducing particular things, time and spaces; instead, it reflects the omnipresent anxiety when the subject sets to the world. The rise of the novel is not only a transformation of artistic convention, but also reveals modern people’s interest in self, identity and mental operation.

Chapter One: Introduction ……… 1
I. Significances of Robinson Crusoe and Its Problematic Representations ……… 3
II. Parapraxes: a Possible Approach to Revisit Robinson Crusoe ……… 8
III. From Freud to Lacan: Anxiety in Narrative Construction ……… 12
IV. Identity and Storytelling in Robinson Crusoe ……… 17
V. Chapter Overview ……… 20
Chapter Two: Father and Law: The Primal Scene in Robinson Crusoe ……… 22
I. Usage of Primal Scene and Its Distortion ……… 24
II. Crusoe’s Primal Scene and the Concept of Family in the Eighteenth Century ……… 25
III. Repetition of Father/Law Image ……… 29
Chapter Three: Object of Anxiety: Description of Crusoe’s Things ……… 36
I. The Sublimity in Crusoe’s Pot and Crusoe’s Sublimation ……… 40
II. The Thing(s) as Unattainable and the Incompletion of Sublimation …………….… 44
III. Crusoe’s Anxiety in Narrative Repetition and Metonymy ……… 47
Chapter Four: Beyond Providence: Crusoe’s Irrelevant Narrative and Moral Anxiety ……… 51
I. “Going to sea” as an Initial Revelation of Jouissance ……… 54
II. Explanation as an Inhibition of Jouissance ……… 57
III. Characterization as a revelation of Crusoe’s Jouissance ……… 58
Conclusion ……… 63
Works Cited ……… 70

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