本論文旨在研究敘事文中呈現的黑襪事件，該醜聞發生在西元1919年世界大賽。探討文本包括艾略特‧阿希諾夫的《八人涉案》(1963)、威廉‧派崔克‧金賽拉的《無鞋喬》(1982)、艾瑞克‧羅爾夫‧格林伯格的《頌揚者》(1983)、哈利‧史丹的《大吹大擂》(1983)，和布蘭登‧波以德的《劣質杜松子酒》(1991)。傳統上遭歸類為歷史的《八人涉案》一書，不但挑戰美國職棒大聯盟針對此醜聞的官方說法，而且影響了稍後出版的四本小說，是典型的歷史修正探究史實的好例子。本論文前面四章主要分析這五本文本，而在最後一章研究重點轉移至本世紀前十年出版的涉及黑襪議題之棒球小說：彼得‧若特可夫的《影子球》(2001)、艾德‧鼎裘的《一壘上的王子》(2002)、凱文‧金恩的《當夜星光燦爛》(2005)、詹姆士‧法雷爾的《棒球夢》(2007)，以及湯瑪士‧派瑞的《平凡的喬》(2007)，這五本小說又再一次佐證了小說家對此醜聞中出現的「純真」與「腐敗」議題的著迷。
在第一章中，議論的焦點為所有歷史敘事文中無可避免的「史實」與「虛構」間的糾結，也討論單一歷史事件如何可以不同地構思為悲劇、喜劇、傳奇或諷刺文。第二章討論下列議題：「棒球國」中的英雄、英雄崇拜和共同體。與本章對比的是第三章中討論的議題：惡棍和反英雄人物,將人身上貼上英雄或惡棍的標籤，與其說是明確的道德評斷，不如說是以不同的角度來評斷人。第四章檢視職業棒球與田園意象的關連，以及牧歌作為棒球文學次文類的意義。所謂的美好的過去或「黃金時代」根本不存在於現實中，僅存於個人想像中。
最後一章是針對黑襪醜聞作為美國棒球文學主題於二十一世紀前十年中再興現象的評論。假如為死者作傳可視作是埋葬他們或理解過往，那黑襪球員永不安息，因為認知的侷促性與對過去關心的轉變，導致任何的呈現都無法讓此事件蓋棺論定。

This dissertation scrutinizes narratives of the infamous Black Sox scandal, or “the Big Fix” of the 1919 World Series, as depicted in Eliot Asinof’s Eight Men Out (1963), W. P. Kinsella’s Shoeless Joe (1982), Eric Rolfe Greenberg’s The Celebrant (1983), Harry Stein’s Hoopla (1983), and Brendan Boyd’s Blue Ruin (1991). Eight Men Out, traditionally viewed as an authentic historical text, exemplifies subsequent revisionist historical inquiry by challenging the official Major League Baseball version of the scandal but also influences the four novels that followed. In the last chapter the focus shifts to five other fictions: Peter M. Rutkoff’s Shadow Ball (2001), Ed Dinger’s A Prince at First (2002), Kevin King’s All the Stars Came Out That Night (2005), James T. Farrell’s Dreaming Baseball (2007), and Thomas K. Perry’s Just Joe (2007), which all together attest to the American literary obsession with innocence and corruption dramatized by the scandal.
In the first chapter, the focus is on the unavoidable entanglement between fact and fiction in all historical narratives, and how a singular historical event may be plotted as a tragedy, a comedy, a romance, or a satire. The second chapter covers hero-worshiping and the creation of community in the so-called “country of baseball.” By contrast, the third chapter examines the figures of villains and antiheroes. The labeling of hero and villain proves not so much a clear moral judgment as a matter of perspective. The fourth chapter confines itself to evaluation of the pastoral image of organized baseball and the pastoral as a subgenre in baseball literature. It argues that the good old days, or the Golden Days, never exist in reality, but only in imagination.
The last chapter briefly reviews the renaissance of the Black Sox scandal as a literary motif in American baseball literature over the last decade. If to write for the dead constitutes either an attempt to bury them or to learn from the past, the Black Sox players cannot rest in peace, since the limitations of our knowledge and our changing interests in the past exclude any definitive representation.

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