本論文藉由閱讀尼爾．蓋曼(Neil Gaiman)的第一部小說《無有鄉》(Neverwhere， 1997)探討奇幻寫作與精神分析的交互關係。仿自路易斯．卡羅(Lewis Carroll)的經典《愛莉絲夢遊仙境》(Alice in Wonderland)，於其中主角愛莉絲經驗未知與超凡(supernatural)，《無有鄉》描述的是一位來自倫敦上層的男主角理查．馬修(Richard Mayhew)的於倫敦下層的奇幻與詭異(uncanny)旅行。拯救一位下層女子朵兒(Door)後，理查失去他在上層世界的身分與認同。面對「家園不再」(unhomely)的境況，理查被迫行至下層世界尋訪朵兒，找回對家的安全與熟悉認同。藉由觀看隱身城市裡的眾多他者，理查遭遇拉岡(Jacques Lacan)在象徵界(the symbolic)與想像界(the imaginary)外，所謂真實界(the real)的存在，並開啟其慾望(desire)的流動可能。以蘿絲瑪莉．傑克遜(Rosemary Jackson)的幻奇寫作顛覆權力觀點閱讀文本，本論文希冀為文化、歷史、與現代性所的隱蔽而失聲的主體慾望發聲，最終呈現無法呈現的「真實」面貌。

The present thesis will investigate the interrelationship between the fantastic and the psychoanalytical perspectives via reading Neil Richard Gaiman’s first novel Neverwhere (1996), adapted from the original namesake BBC television serial. Taking cues from Lewis Carroll’s Alice in Wonderland in which Alice accidentally enters a region of the unknown and the supernatural, Neverwhere, on the other hand, tells of a male protagonist, Richard Mayhew’s fantastic yet uncanny journeying, down the city sewer into the “London Below,” the buried and repressed past by the “London Above,” or the everyday, familiar London by default. Rescuing a girl named Door from the street one night, Richard then becomes invisible, losing his home which turns out “unhomely” in the London Above, compelled to go on the terra incognita of the Below. Observing the invisible cities of the multiple other which used to escape his unitary way of seeing, Richard’s vision of the familiar/homely city gets blurred, defiant, and eventually tuned to scope of the real (as contesting/channeling the symbolic and the imaginary) in the Lacanian sense. Reading the fantastic as subversive to the present cultural order and power invigorated by Rosemary Jackson’s theorization, this thesis hopes to voice the desire of the unseen and unspoken of culture, history, and modernity by facing the im/possibility of making visible the real.

Abstract…………………………………………i
Chinese Abstract………………………………ii
Acknowledgments……………………………ii
Chapter One: Introduction………………1
Chapter Two:
In Defense of the Fantastic: Neverwhere as a Method………………………14
Chapter Three:
The Homely into the Unhomely:Uncanny, the Real, and Desire in Neverwhere……………………………40
Chapter Four: Conclusion……………69
Works Cited………………………73

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