二十世紀初，阿根廷作家波赫士出版了ㄧ本短篇小說集「迷宮」，預示了後結構主義的興起，也陸續開啟了後結構主義者對波赫士文本的研究。不同於目前主流的後結構詮釋，我在此篇論文裡提出了另ㄧ種詮釋觀點：在幾篇帶有「套層結構」(mise-en-abyme) 的短篇小說裡，波赫士提出了他的永恆觀，即在一個無時間次序的空間裡，世俗的法規及價值觀失去原有的效力，故事主人翁展現驚人的意志，反覆不斷地創造與毀滅。譬如，在「環形廢墟」裡，主角一再地在夢裡創造及毀滅一個屬於他的孩子，以期達到完美的境界；在「永恆」一文裡，魯道夫跳脫現實至永恆之城，體驗壯闊建築所帶來不可承受的崇高性，以及長生者不昧世俗的獨到永恆觀；在「不為人知的奇蹟」故事裡，哈洛米．狄拉克在瀕死前不斷在腦中修改他未竟劇作「敵人」；以及艾瑪，在「艾瑪．孫茲」中為實現他的報復計畫，不惜毀掉自己童真，和一名陌生男子發生關係。其中，貫穿上列故事的共通點，即是由套層結構所帶出的永恆空間。此空間與拉崗所提出的永恆空間，也就是介於象徵界的死亡與肉身死亡的中間地帶，有著相近的概念：於此，世俗的價值觀被棄置，川流不停的時間被靜止，主體及文本現實被賦予改變的可能性。總括而言，此篇論文淡化了後結構主義者對波赫士的解構面向，轉而借用拉崗的心理分析，強調波赫士文本中的創造性。

In the early twentieth century, the Argentine writer, Jorge Luis Borges published his collection of short stories, Labyrinths, which foreran poststructuralism and anticipated the subsequent poststructuralist readings of his works. Veering away from this now prevalent approach, I propose in this thesis that in some of his short stories specifically characterized by the mise-en-abyme structure, Borges expresses his notion of immortality by showing the protagonists’ persistent will to create and destroy in an atemporal space where conventional laws and values lose their efficacy. For instance, in “The Circular Ruins,” the protagonist strives hard in his dreams to create and destroy his son; Rufus in “The Immortal” is drawn from reality into the City of the Immortals where he endures the unbearable sublimity of its architecture and the immortals’ specular opinions contrary to our social conventions; In “The Secret Miracle,” Jaromir Hladk revises his drama, The Enemies, or Vindication of Eternity, in his mind over and over again; Emma in “Emma Zunz” destroys her own virginity in a sexual intercourse with a stranger in order to fabricate and facilitate her revenge plan. Among other things, what is common in these stories is an atemporal space brought about by the mise-en-abyme structure. This space has affinity to Jacques Lacan’s notion of the domain between two deaths where symbolic values and temporal flow are suspended and which allows for transformation of the subject and textual reality. In general, this thesis downplays the poststructuralist deconstructive aspect in Borges and aims at highlighting his creative aspect by drawing on Lacanian psychoanalysis.

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