Please use this identifier to cite or link to this item: http://hdl.handle.net/11455/7013
標題: 露薏思. 厄翠琪的〈〈蹤跡〉〉和〈〈愛情靈藥〉〉中搗蛋鬼主義
Tricksterism in Louise Erdrich's Tracks and Love Medicine
作者: 簡淑妃
關鍵字: tricksterism;搗蛋鬼;identity;discourse;身份認同;論述
出版社: 外國語文學系
摘要: 
論文提要:
奇帕瓦神話變形人物Nanabozho能百變身形,飛天遁地,自由遨遊,不受外在形式及情勢所限,並藉此能力打擊敵人。露薏思.厄翠琪將戲謔的搗蛋鬼負面刻板形象轉化成能力和求生的能源。事實上,奇帕瓦神話中變形搗蛋鬼的社會意義,似乎超過它的宗教儀式性。在談論搗蛋鬼(trickster)在後現代的意義時,維茲諾(Gerald Vizenor)從語言符號的角度解析這傳統故事中的人物時曾指出,搗蛋鬼並非儀式的符號(ritual sign),而是社群的符號(communal sign),因為在其喜劇性的論述裡,它儼然是位社會的抗拒者(a social antagonist)。
本論文首先說明露薏思.厄翠琪為何要運用搗蛋鬼作為求生策略,第二章再探討露薏思.厄翠琪《蹤跡》和《愛情靈藥》小說中的人物具傳統搗蛋鬼(trickster)具自我解放、尋求自由特質,在社會文化邊緣尋求政治性的抗爭,在困境求生存。厄翠琪藉歸鄉的母題探討小說主角如何藉著回歸部落、土地、自然、族裔文化認同,以尋回內在平衡並建構族群認同。第三章探討小說主角以說故事的形式傳遞部族歷史,傳續文化,且以幽默呈現部族社群與主流的關係。最後,讀者也加入說故事行列中,融入族群論述。本論文藉用搗蛋鬼論述來說明露薏思.厄翠琪如何在《蹤跡》和《愛情靈藥》中運用Nanabozho的作用與功能,尋求奇帕瓦族人生存與文化的延續。

Abstract
Nanabozho, Chippewa trickster uses his transformational powers to escape from difficult situations and attack his enemies. In Tracks and Love Medicine, by emphasizing her characters' trickster traits, Erdrich turns stereotypically negative images into sources of strength and survival. In fact, the trickster is not only as an actual figure in the novel but also as a linguistic and stylistic principle. In his discourse upon postmodernism, Gerald Vizenor emphasizes the Native American trickster's “disembodied in a narrative… a communal sign, a comic holotrope and a discourse” (196). The trickster is not a ritual sign, but a communal sign. Vizenor's trickster discourse embodies communal and cultural strength through shared codes of meaning. Vizenor sees the trickster as the “social antagonist” to attack the dominant bourgeois worldview.
The first chapter of my thesis focuses to discuss the reason why Louise Erdrich employs tricksters as a survival strategy. In the second chapter, I will analyze Louise Erdrich's characters that bear important resemblance to Chippewa trickster Nanabozho. By the “homecoming” plot, Erdrich's work offers a trickster-inspired view of identity that connect to home, family and community. In the third chapter, I aim to demonstrate that Erdrich's use of a multi-voiced structure is associated with tribal storytelling traditions as well as trickster discourse. Finally, I will focus on the role of readers as the trickster interpreters who participate actively in the process of storytelling. Through Smith's trickster aesthetic, I try to illustrate how Erdrich attests to the personal and cultural survival of the Chippewa people by tricksters.
URI: http://hdl.handle.net/11455/7013
Appears in Collections:外國語文學系所

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