本論文試圖藉由派屈克•馬克白《屠夫男孩》中志異小說的書寫傳統，進一步挑戰並彌補過去學者過於簡化的修正主義閱讀策略。馬克白的《屠夫男孩》講述一位愛爾蘭男孩殺害鄰居太太的謀殺故事。學者常以「修正主義」的觀點來闡釋小說對愛爾蘭國族主義的批判。另一方面，評論家也將該本小說歸類為「志異小說」以詮釋故事中充斥的暴力、瘋狂和謀殺等情節。然而這兩種閱讀策略仍有些許不足。首先，「修正主義」和「志異小說」都是經過長期演變而極難清楚定義的概念；因此這兩種詮釋方式都面臨定義上的問題，而難以進行更深入的探討。其次，小說敘事者為主人翁方濟。藉由方濟第一人稱的敘事策略，馬克白讓讀者感同深受方濟的遭遇、甚而同情這位年輕的謀殺犯。這樣同情的筆調顯示的是作者對愛爾蘭國族主義充滿的矛盾情緒。而過度簡化的修正主義閱讀觀點就無法完整詮釋此種同情基調。此論文試圖將修正主義和志異小說兩種論述架構做結合，探討馬克白在《屠夫男孩》中如何運用志異小說的書寫傳統來重觀獨立後愛爾蘭在六零年代從保守國族主義邁向現代化的轉型期。
論文首先勾勒修正主義和志異小說兩種詮釋方式定義上的困難、以及各別的不足。接著透過歷史脈絡化志異小說，筆者企圖突顯早期志異小說常表現的「懷古風尚」來解讀《屠夫男孩》的歷史背景。筆者認為小說對於國族主義多所批判，但同時也對愛爾蘭的現代化進程有所質疑。另外藉由志異想像和種族刻板印象的關係，筆者主張小說中「豬」的意象為英國殖民者對愛爾蘭人民強加的負面種族形象。透過方濟和豬的意象角力的過程，筆者試圖探討愛爾蘭民族如何回應其負面種族形象。論文最後透過愛爾蘭志異小說常出現的「雙重困境」概念來詮釋馬克白在《屠夫男孩》中對方濟的同情筆調，以及小說如何呈現方濟同時為受害者與謀殺犯、同時為豬與屠夫。

This thesis, drawing from the Gothic paradigm, attempts to complicate and supplement the revisionist reading of Patrick McCabe’s The Butcher Boy (1992). The novel tells the murder story of Francie Brady, a troubled Irish boy who slaughters his Anglicized neighbor like a pig. Critics have aligned the novel with the revisionist attempt to debunk nationalist meta-narrative. They have also associated the sensational plotline and grotesque imageries in the novel with the Gothic tradition. Revisionism and Gothicism, therefore, are two established reading strategies to The Butcher Boy. Both ideas, however, are used by critics with certain unease, for both terms are under much critical debate. Moreover, in the end of the novel, McCabe astutely eschews moral judgment on Francie’s horrific deed. Francie’s first-person narrative also allows the reader to sympathize with the young murderer. In this regard, McCabe keeps a sympathetic undertone in the murder story, which a simplistic revisionist reading cannot fully account for. This thesis, bringing the two critical paradigms together, argues that McCabe’s use of Gothicism is crucial to understanding his complicated re-visioning of Ireland in the 1960s.
Through historicizing the Gothic fiction, the thesis underlines the idea of “antiquarianism” to explicate the historical background of the novel—Ireland at the turn of the 1960s when the Republic underwent a transformation of national ethos, from conservative nationalism to modernization. I contend that while the novel is critical of the waning nationalism, it is also suspicious of Ireland’s relentless modernizing project. From a cultural dimension of the Gothic, the thesis foregrounds the relation between Gothic imagination and racial discourse. In this light, I intend to demonstrate that the recurrent image of “pig” in the novel is a Gothicized racial stereotype of the Irish people. Through Francie’s struggle with the pig image, the thesis examines Irish people’s negotiation with their often derogatory racial stereotype. Finally, resorting to the Gothic device of “double bind,” I attempt to expound McCabe’s underlying sympathy for the homicidal and suicidal boy, who is depicted as both victim and murderer, both pig and butcher.

Acknowledgement i.
摘要 ii.
Abstract iii.
Table of Contents v.
Chapter 1: Introduction: Gothicism and Revisionism in The Butcher Boy 1
Chapter 2: Re-visioning Nationalism: Antiquarianism and Modernization 25
Chapter 3: “Pigs!”: Gothic Racial Stereotypes and Repressed Fear 40
Chapter 4: Piggish and Butcherly: Double Bind and “The Butcher Boy” 54
Chapter 5: Conclusion 74
Works Cited 81

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