透過跨學科的方法並運用瓜塔里的生態哲學和混沌互滲理論來探討全球暖化論述，本研究主要關注三部有關暖化議題的科幻小說。論文第一章考察了自然物質性缺失的原因，並探討當下的生態批評如何通過文化，語言和精神來構建自然；同時，我也分析諾曼‧斯賓拉德《溫室夏天》（1999）中的自然，機器和混沌等議題，期能催發一個能融合真實、自然和物質的新視角。第二章探討伊恩‧麥克尤恩《日光》（2010）中的社會生態學問題。本章不但指出一體化的全球資本主義通過操縱媒體、廣告和輿論等來左右集體和個體的主體性，也分析全球暖化景觀所呈現的社會剝削和環境非正義性的問題。在第三章中，我嘗試用瓜塔里的混沌互滲和心靈生態學來探討巴拉德的《淹沒的世界》（1962）中主體化、特異性和無器官身體等議題。本論文旨在回答以下兩個問題：(1)瓜塔里的生態哲學觀能否為當下的暖化爭論提供一個全新的視角和確實可行的解決方案；(2)瓜塔里的生態哲學觀是否提供一個重新檢視當下生態批評的契機並穿越存在已久的二元對立模式（感觀/理性，主體/客體，心靈/身體）。本論文結論指出：上述兩個問題的解答須建立在三個前提上：首先，雖然暖化論述的研究和方法論可以囊括在生態批評的框架內，但是全球暖化問題的複雜性和眾多創新文學作品的湧現，可引發更多有關生態批評的理論和實踐可行性的討論。其次，瓜塔里的生態批評方法植根於「解疆域」，「橫貫性」和「複雜性」理論，希冀能走出「擁抱大樹」的浪漫生態觀和解構主義的「無自然生態學」，提供生態批評一種另類的選擇。最後，瓜塔里的生態哲學係建立在奇異化和再奇異化基礎之上的倫理美學範式不僅有益於生態批評領域，也適用於文化和哲學領域的探索。

This dissertation offers a transdisciplinary and in-depth study of global warming narratives with a special focus on three global warming narratives in the light of Felix Guattari's ecosophy and chaosmosis. In Chapter One, I investigate the issues of nature, machine, and chaos in Norman Spinrad's Greenhouse Summer (1999); the chapter looks at why nature as materiality is absent and how nature is culturally, linguistically, and psychically constructed in ecocriticism, so as to call for a new perspective that allows for the incorporation of the real, nature, and matter. In the second chapter, I analyze Ian McEwan's Solar (2010) in terms of Guattarian social ecology, particularly IWC's control of collective and individualistic subjectivity through manipulating the media, advertising, opinions, and so on. For my part, the spectacle of global warming is seen as a vivid representation of social exploitation and environmental injustice. An in-depth discussion of chaosmosis and mental ecology in the third chapter is exemplified in the exploration of subjectivation, singularity and the BwO in The Drowned World (1962). This study thus asks two important questions: (1) does Guattari's ecosophy provide a brand-new perspective and a possible solution to current disputes on global warming? (2) Does Guattari’s ecosophy indicate an overhaul of not only ecocriticism, but also the binary oppositions (perception/reason, subject/object, mind/body) and lead to a rhizomic and heterogeneous ontology that nurses the singular, productive and autopoietic subjectivity? In my conclusion, I argue that, to solve the aforementioned questions, three propositions are relevant to the discussions of Guattarian ecosophy: (1) even though the research and methodological discussion of global warming narratives can fall under the broad grouping of ecocriticism, the complexity of global warming narratives will engender more debates about theorizing ecocriticism; (2) Guattari and his tool box of ecology stemming from the deterritorialization, transversality, and complexity theory are in a position to go beyond  “tree-hugging” romantic ecology or deconstructionist"ecology without nature”; (3) the restructuring of an ethico-aesthetical paradigm in light of singularization and resingularization can broaden ecocritical horizons of expectation.

Table of Contents

Abstract (Chinese) ……………………………………………………………………i
Abstract (English) …………………………………………………………………ii
Acknowledgements……………………………………………………….…………iii
Table of Contents……………………………………………………………………iv
Introduction …………………………………………………………………………1
Chapter One:
Machine, Matter and Chaos: Environmental Ecology in Norman Spinrad's Greenhouse Summer……………………………………………………………22
Chapter Two:
Culture, IWC and Techne: Social Ecology in Ian McEwan's Solar………62
Chapter Three:
Chaosmosis, Singularity and BwO: Mental Ecology in J. G. Ballard's The Drowned World…………………………………103
Conclusion…………………………………………………………………………143
Works Cited………………………………………………………………………157

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