本論文將側重於分析數部台灣科幻小說，追究其中鋪陳的劫後幻設地景與（跨）性別書寫。滿溢奇觀的末世都會既是人形機體、異類肉身與宰制大歷史架構傾軋拉鋸的背景，也是寓言前景、森羅客體眾象的幻境，以及集體意識的慾望化身。論文首先以班雅明著作為分析素材，閱讀兩篇科幻小說（〈二三○○‧洪荒〉，〈傾城之戀〉）的歷史寓言特質。第二節探討太空歌劇〈雙星沈浮錄〉與《時間龍》所呈現的都會（宇宙）之眼，接合後拉岡精神分析論述的觀點，梳理主體掙扎其中的曖昧與兩難。在論文的第三節，以跨性別理論與「動物－機體－人」（cybernetic organism, cyborg）論述，就《不見天日的向日葵》為分析文本，重新閱讀行走於廢墟與光電幻境之上的異質肉身，對照酷兒／跨性別論證，探討台灣科幻敘事的陽剛跨性別人物的基進身體美學。

This paper analyzes several Taiwan science fiction texts, focusing on their build up of a post-holocaust, fantasmatic landscape and on the transgender writing emergent from these novels and stories. The first part deals with two classic short stories, “In the Year 2300, A Wasted Land” and “Love Until the City Comes Tumbling Down,” which hypothesize a historical negotiation contextualized by a Benjamin-esque, allegorical past, and the struggle between this symbolic network and the Lacanian Real. The second part is a re-reading of a renowned Taiwan space opera series (Dragon of Temporality, Saga of the Twin Stars), focusing on its characterization on the Big Other, embodied as a corporeal cosmic eye by which a variety of different subject-positions are empowered or enslaved. The final part is a close textual analysis of a science fantasy with cyberpunk voice, A Sunflower in Underworld. In this part, I conduct an exchange among cyborg discourse, transgender politics, theories of queer masculinity by Judith Halberstam and Jay Prosser to formulate a theorization about this text’s trans-butch characters, arguing for their transgressive bodily modification and the “monstrous” aesthetics they incarnate in a posthuman, near-future hybrid metropolitan.