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標題: Photographs, History, and Memory: A Barthesian Reading of Joy Kogawa's Obasan
作者: 廖珮真
Liao, Pei-chen
關鍵字: 照片;photograph;歷史;記憶;羅蘭巴特;知面;刺點;history;memory;Roland Barthes;studium;punctum
出版社: 外國語文學系
小川樂(Joy Kogawa)的《歐巴桑》描寫日裔加拿大人在第二次世界大戰期間的傷痛經驗。作者根據其自身的經驗,塑造了故事的主角娜歐米(Naomi),試圖藉由娜歐米這個受害者的觀點,來回顧並重新建構這一段歷史。透過回憶的書寫,作者不僅揭露了加拿大政府當時對日裔加拿大人的政治迫害,同時也呈現出日裔加拿大人在戰後是如何去面對他們的創傷經驗與歷史。在故事主角娜歐米(Naomi)的敘述中,照片是其召喚兒時回憶與重新建構族裔歷史的重要媒介之一。因此,本論文嘗試以羅蘭巴特(Roland Barthes)在《明室》(Camera Lucida)一書中所提出的照片閱讀觀點為理論架構,探討娜歐米在小說中閱讀照片的經驗,並檢驗其照片的閱讀與歷史的建構和回憶的召喚三者之間的關係。

Joy Kogawa's Obasan describes Japanese Canadians' the traumatic experiences in the Second World War. Based on her personal experiences, the author creates the protagonist Naomi Nakane to review as well as re-construct the history of Japanese Canadian by a victim's perspective. Through the narrative of memory, Kogawa not only exposes the Canadian government's political persecution to Japanese Canadians, but also portrays how those Japanese Canadians cope with their traumatic experiences and history. In Naomi's narration, photographs serve as one of the important media in her evocation of the childhood memories and reconstruction of the ethnic history. Therefore, this thesis is to try to investigate Naomi's experiences of reading the photographs and examine their relations to the reconstruction of history as well as the evocation of memories in terms of Barthes's theory of reading photographs in his Camera Lucida.
There are four parts in this thesis. The first part is an introduction, which explains the motivation and direction of the thesis. Meanwhile, a systematic introduction to the critical reviews of Kogawa's Obasan is also included. The second part is a discussion on Barthes's concept of reading photographs in Camera Lucida. The third part is to explore the relationship of Naomi's experiences in reading photographs to her reconstruction of history and the evocation of memories. At the same time, a reflection on Barthes's photographic theory is also made through the survey of Naomi's experiences of reading photographs. The last part is a conclusion, encapsulating the relation of photograph reading to history and memory, and meanwhile, emphasizing that the photographs should not be easily underestimated while delving into the relation between history and memory in Obasan. In addition, the inter-study of Barthes's Camera Lucida and Kogawa's Obasan in this thesis is to help readers obtain a further understanding of both works.
Appears in Collections:外國語文學系所

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