南非劇作家亞索傅格德於1961年寫出《血結》一劇，其中檢視的認同問題來自兩方面:一是根據膚色而造成由社會所建構出的差異，二是語言間不平等而產生的疏離。再者，傅格德藉曲混雜(hybridize)、諧擬 (mimic)西方典律論述而呈現出斷裂、不完整的後殖民主體。劇中兩兄弟諧擬彼此的角色而模糊、逾越膚色的邊界，粉碎了種族隔離政策的殖民霸權，並重新體認手足之情。

本論文主架分為四章。第二章筆者將南非的歷史背景與《血結》劇中的種族歧視、種族隔離政策下的法令作一概括性的陳述及連結。第三章筆者以阿爾及利亞心理分析學者弗藍茲、法農(Frantz Fanon)的理論來分析膚色及語言議題之間的關係。由自到黑形塑的皮膚階層所產生之區隔差異，可由語言和種族關係反映出來。根據法農的論點，一個人白不白，與其操弄殖民者的語言成正比。語言作為一種文化差異與權力不平衡的象徵，被視作涵蓋任何文化再現的形式。第四章筆者提出印度後殖民理論家霍米、巴巴(HomiK.Bhabha)的殖民學舌(coloial mimicry)概念來探討不同範疇語言的使用。由於殖民學古的結果是對殖民者模糊含混的仿製，其所呈現出的是殖民者部分的再現。同時，被殖民者利用殖民學古產生的雙音(double articulation)效果，對殖民者造成嚴重的威脅。第五章筆者再提出霍米、巴巴揉雜(Hybirdity)的理論來探討傅格德《血結》劇中揉雜的技巧。第一，劇中兩兄弟問的角色扮演、種族扮裝，揉雜並抵制殖民主義下的二元對立，重新形塑黑人刻板印象一獸性的黑人暴力(bestiality)、生殖器化約下的情慾化、性別化的身體(genitalia)、怪誕上下顛倒的嘉年華效果(grotequerie)。第二，傅格德挪用、諧擬西方典律中的敘述體，包括貝克特的等待果陀(Waiting For Godot)、聖經中亞伯與該隱的故事(Cain and Abel)、以及伊底帕斯悲劇(Oedipus Rex)，而產生一種揉雜的文本。這揉雜的文本不僅改變、逾越其原始文本意義的內涵、並製造出既像／又不像(not quite/not white)的斷裂主體。

South African Athol Fugard wrote his Blood Knot in 1961, which examines both the problem of identity that rises from the socially constructed differences in the light of skin color, and how the inequality of language generates the alienation between the two brothers, Morris and Zachariah. What is more, as a mimic text by hybridizing Western narratives, Fugard's play presents the split postcolonial subject rather than the whole, unified subject; the two brothers, by way of mimicking each others' roles to blur as well as transgress the boundaries of color lines, sabotage the colonial hegemony of apartheid system, and then resume the bond of their brotherhood.

The main body of my thesis is divided into four chapters. In my Chapter Two, I offer a synoptic background of South African history since this pertain to legalized racism of apartheid and some legal Acts in Blood Knot. In my Chapter Three, I apply Frantz Fanon's theory to the analysis of the relationship between the issues of skin color and language. The hierarchy of pigmentation from white to black imposes distinctions mirrored in everything from language to race relations. According to Fanon, a man's whiteness lies in direct ratio to his mastery of the colonizer's language. As a symbol of cultural difference and power imbalance, language can be taken as encompassing every form of cultural representation. In my Chapter Four, I use Homi K. Bhabha's theory of mimicry to analyze different categories of language. Since the effect of mimicry results in the blurred copy of the colonizer, the colonizer's representation is partial. Mimicry also generates double articulation for the colonized to threat the colonizer. In my Chapter Five, I also use Bhabha's hybridity to discuss Fugard's hybridizing strategy in Blood Knot. The two brothers' role-play hybridizes and resists binary opposition, which helps reshape the stereotype of black man's violence of bestiality, sexualized body ofgenitalia, and the topsy-turvy carnivalized effect ofgrotesquerie. In addition to the hybridized body, Fugard appropriates and mimics the Western narratives of Samuel Beckett's Waiting For Godot, the tale about Cain and Abel from the Bible and the tragedy of Oedipus Rex. The hybridized text changes as well as transgress the intent of its original meaning, and generates the not quite/not white split characters.