本論文旨在提議從聲響與其轉折之層面來閱讀凱瑞•菲利普思(Caryl Phillips)之《大西洋響音》(The Atlantic Sound)。此一文本，與保羅•吉洛伊(Paul Gilroy)的《黑色大西洋》(The Black Atlantic)有著同工異曲之妙，皆涉及了黑人離散的議題。但往往評論者在探討的過程，因為執著於歸屬政治的研究，忽略了吉洛伊對於聲響的重視，也壓制了聲響在文本中的角色與其作用。本文認為，只單從歸屬認同的面向來閱讀《大西洋響音》，容易產生一種偏差的視角。既然此文本的書名已經強調了大西洋的「響音」，我們不妨把聲響當作一個閱讀的關鍵，去解譯、理解或領會《大西洋響音》。
論文的第一章試圖透過凱瑞•菲利普思之作品回顧來安置他的文學定位。第二章則從泛非嘉年華之表演、發聲與此活動多元文化與多重族裔的表象，來探討泛非嘉年華的聲響，並進一步使其問題化。第三章分析了文本中四段敘事體的聲音，並論證從這些共享的故事與鮮為人知的秘密當中，一種連貫於不同非裔群體間的離散熟悉感 (Diasporic Intimacy)，得以產生。結論提供了黑人離散議題發展的可能性。文本中船的聲響，不僅表達出黑色大西洋的深度，也明顯了緬甸勞工與黑色大西洋的連結關係。

This thesis proposes to read Caryl Phillips’s The Atlantic Sound (2000) in light of sound and its transition. The Atlantic Sound has been related to black diaspora, especially in the framework of Paul Gilroy’s The Black Atlantic (1993). As a result, critics often silence the role of sound with sole attention to the politics of belonging. It is ironic that these critics overlook the role of sound while Paul Gilroy highlights it in The Black Atlantic. This thesis suggests that it is misleading for critics merely to highlight the politics of belonging. I propose to use sound as a key to decode, comprehend or appreciate The Atlantic Sound, since its title highlights the “sound” of the Atlantic.
Chapter One attempts to place Caryl Phillips in terms of his writing career. The chapter discusses why Caryl Phillips should be significant in our study and suggests placing Caryl Phillips as a black Atlantic writer. Chapter Two considers the sound of pan-African festivals. I trace the sound of Panafest to be strategically performed active in relation to the African homeland. Secondly, I investigate the tunes of these festivals from the feature of their performance. Chapter Three highlights the narrative voice as a figurative device of the Atlantic in each episode. In contrast to the tunes of pan-African festivals, those mnemonic voices are more historically illuminative and locally particular. More importantly, these narrative voices re-negotiate the standard tunes of pan-African festivals and provide a diasporic intimacy to re-map the transatlantic community of black diaspora. The last chapter concludes by offering further perspective on black diasporas. I find the sound of the ship to be related to black Atlantic, framing it with depth, highlighting its engagement with the Burmese labors.

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