傅柯生平最後兩本著作《愉悅的使用》與《關懷自我》標誌其哲思最終的倫理轉向。傅柯晚期掙脫權力的絕對桎梏後，以考古學為經，以系譜學為緯，重探古希臘羅馬人的生活文化，進而描繪出一條倫理軸線。此倫理學乃挪用美學中所蘊含的創意、創新與創造之概念，藉由主體與真理遊戲互動、交織、形構成的一系列自我技術，使主體鬆脫權力網絡之操弄，穿（逾）越既定的界限，開展出嶄新並具個人風格之存有樣態，亦即生存美學。主體因而在綿密無垠的權力結構中，獲得些許自主與自由的可能。而摩里森《愛》，一反其過去所處理的題材──殘酷的描繪非裔美人如何被白人社會壓迫、壓榨、奴役，《愛》中的男主角柯西卻是一位八面玲瓏、闊綽的中上階層非裔美人，悠走於各階級與種族間。此角色顛覆摩里森以往灰澀且悲世的筆調，賦予了黑人敘事小說另一種轉向：即便在白人主流論述的權力網絡下，處於邊陲的有色人種依舊能夠「拒絕」落入刻板印象的巢臼中，創造自由的生存樣態。據此，本論文欲藉由「生存美學」出發，探討《愛》中這位概念上隸屬權力邊陲的非裔美人男性──如何透過屬於他中介者的、情慾的、以及友誼的自我技術，在權力框架中發展出其風格化之生存美學，以彌補傅柯倫理學以歐洲白人論述為中心之不足。而此種邊緣他者的生存美學，其作為一種後傅柯式的倫理學，在晚期資本主義與全球化的浪潮下，更有其重要性。本論文在開展邊緣他者與傅柯倫理學對話的同時，亦希冀藉由此爬梳，提供我們建構個人化的、風格化的生存美學，在流變快速的權力網絡中，獲得些許自由與幸福。

Foucault redefines ethics as an aesthetics of existence in the final stage of his intellectual trajectory. His ethics comprises a series of technologies which enable the self to engage in a relatively active, autonomous and dynamic self-creation and self-stylization process. In sum, Foucauldian ethics concerns how each individual is able to attain a way of life that provides a certain degree of happiness and freedom in the discursive power system. Unfortunately, Foucault’s unfinished project on ethics leaves the connections between the ethics and politics of the self incomplete. As such, a post-Foucauldian ethics that stresses the politics of gender, race, and class is necessary, assisting each individual to obtain relative autonomy and happiness in the postmodern world. Therefore, the thesis aims to interrogate the technology of the marginal self or infamous “other,” such as a racial minority, that might supplement Foucault’s technology of the “self” in the formation of the ethical subject. In Toni Morrison’s Love, the protagonist Bill Cosey is a successful African-American upper-class entrepreneur. This unprecedented figure designates a new direction for black narrative—that of freedom and happiness. Consequently, the thesis attempts to develop a kind of post-Foucauldian technologies of “the other” or “marginal self” based on Bill Cosey. The paper enumerates, first of all, Bill Cosey’s technology of go-between based on his relation to African-American hierarchical community. Second, it illustrates Cosey’s technology of sexuality according to his relation with his wives and paramour Celestial. Finally, it delineates Cosey’s technology of friendship with Sandler as a singular form of relationship in the existing institutionalized social relations.

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