《飢餓遊戲》：監視與自我呈現

Abstract

本文藉由分析《飢餓遊戲》三部曲來探討作者蘇珊．柯林斯對監視的詮釋及主角對於監視的回應。本文以米歇爾．傅柯的圓形監獄理論為主要架構來分析作品中的凝視和規訓，探討圓形監獄在這部作品中是如何作為一種監視的手段，以及傅柯的圓形監獄在小說中的施惠國是如何透過科技轉化成電子圓形監獄。除此之外，本文還引用其他學者的監視理論延伸討論監視這個概念，並結合厄文．高夫曼的自我呈現論，分析主角凱妮絲在凝視之下是如何建構她的身份認同。透過研究這些主題，本文希望闡明柯林斯是如何以監視作為論述來吸引讀者，並批判權力、控制及監視對個體和社會的影響。This study aims to examine Suzanne Collins's interpretation of surveillance and the protagonists' response to surveillance in The Hunger Games trilogy. Specifically, this research employs Foucault's panopticon theory as a framework to analyze the gaze and disciplinary power, exploring how the panopticon functions as a method of surveillance throughout the series, and how the Foucauldian panopticon is transformed via digital technology in Panem. Furthermore, this study draws on other scholars' surveillance theories to expand the analysisof surveillance, incorporating Erving Goffman's theory of the presentation of self to illustrate how the protagonists react and shape their identities under the panoptic gaze. By exploring these themes, this study seeks to shed light on how Collins employs surveillance as a narrative tool to engage readers and convey critical messages about power, control, and the impact of surveillance on individuals and society.