法國作家費德利克．貝格岱在2003年出版的《世界之窗》是一部結合虛擬小說與自傳小說的作品。本書使用了兩位敘述者，一位是與作者同名的作家，另一位為一虛擬角色卡修‧約斯頓（少數章節的敘述者為卡修的兩位兒子，傑立與大衛）。在虛擬小說中，貝格岱還原了九一一當日兩架飛機在撞上世貿大樓之前與之後的情況。有趣的是，在危急之中，大衛不斷地想像卡修為一名最後會顯現出自己真實身分並且拯救眾人的超級英雄。因此，超級英雄不僅成為小說故事的主軸，同時也是作者在自傳小說中對美國境內與外交政策評論的出發點。論文引言藉由爬梳美國超級英雄文類的歷史脈絡，探討超級英雄文類與美國社會事件的微妙關係。在第一章，我將小說中虛擬故事的部分放在傳統超級英雄文類的脈絡下，試圖釐清美國作為世界強權的中心思想如何在超級英雄的意象當中體現出來。第二章則依循超級英雄文類架構下的創傷議題與正邪對立的主題，探討小說中的虛擬故事如何呼應後九一一時期美國政府對於恐怖主義份子的回應。在第三章，我主張貝格岱透過超級英雄之死的呈現以及對於英雄殞落的哀悼，破除了「超」「人」之中的「超」級迷思，進而回歸到認清身為「人」的肉體脆弱性。結論重申貝格岱的敘事技巧，並說明小說中如何延伸超人殞落的啟示，回歸到彼此尊重、互助的倫理概念，為後九一一文學創作提供不同的觀點。

Published in 2003, the French writer Frédéric Beigbeder’s Windows on the World is composed of a fictional story and the author’s occasional autoficitonal accounts. The novel has two narrators, one of them is Beigbeder, named after the author himself, and the other is Carthew Yorston (and sometimes his two sons, Jerry and David, in a few chapters). In the fictional story, Beigbeder vividly depicts the situation in the restaurant Windows on the World before and after the two hijacked planes hit the World Trade Center. Interestingly, during the time of emergency, David keeps on imagining Carthew as a superhero who may ultimately reveal his identity to protect all of the people under the attack. The superhero thus becomes an important motif in the fictional story and also a departure point from which the author’s autofiction reflects upon and criticizes the domestic and foreign policies of the US before and after 9/11. Introduction traces the history of the superhero genre in the United States in order to distinguish the relationship between the superhero genre and the historical events in the US. In Chapter One, I situate the fictional story within the traditional superhero genre to see how Beigbeder characterizes the American ideology of the country as the superpower through the image of the superhero. Given the issues of trauma and the theme of good versus evil in the superhero genre, Chapter Two discusses how the fictional story corresponds to the real political situation in the US after 9/11. Furthermore, in Chapter Three, by examining the representation of the superhero’s death and the mourning for the falling of the superhero in Windows on the World, I argue that Beigbeder challenges the illusion of the superhero and returns to the recognition of human vulnerability. The conclusion restates my arguments and affirms Beigbeder’s treatment of the superhero’s falling, which focuses on the ethics of mutual respect and provides another perspective from which to create post-9/11 literature.

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