Please use this identifier to cite or link to this item: http://hdl.handle.net/11455/95514
標題: 二二八小說中的女性歷史傷痕─以陳燁《泥河》、李昂〈彩妝血祭〉、李喬《埋冤1947埋冤》為例
The Female Historic Scars in 228 Fiction─ Chen Ye’s “Mud Rive” and Li Ang’s “Color Blood Sacrifice” and Li Qiao’s “Buried Injustice in 1947” as examples
作者: 劉雅慧
Ya-Hui Liu
關鍵字: 父權社會;政治迫害;傷痕記憶;性別政治;二二八事件;patriarchal society;political prosecution;scar memory;gender politician,;228 event
摘要: 
政治解嚴後,自由民主與言論開放的氛圍,宣告文化霸權的結束。威權時期的各種大敘述,或被視為思想禁區的議題,紛紛面臨挑戰和解構。台灣文學場域的作家,在解嚴後,從族群記憶、身分認同、性別政治與重述歷史等議題,與時代脈動和政治思潮進行對話。本論文以二二八事件為背景,透過陳燁《泥河》、李昂〈彩妝血祭〉、李喬《埋冤1947埋冤》這三個跨越八○年代到九○年代,不同時代、性別作家的二二八書寫,探討女性歷史傷痕、歷史記憶與性別政治的關聯。
第一章緒論,包括研究動機與目的、方法,二二八相關文獻及本文各章節研究架構。第二章陳燁《泥河》的女性傷痕記憶書寫,首先析論解嚴後,台灣文壇的女作家展開政治書寫的意義。接著以大家族的傳統女性為主軸,探討傳統父權思維如何透過教育、經濟和婚姻的宰制,將女性邊緣化。女性雖然失去主體,無法涉入公領域,但是,男權主導的二二八事件,將她們被動捲入政治風暴。父權壓迫和國家暴力的共構下,對女性造成的傷痕記憶,甚至影響世代間母女的情感,以及對父權認同產生衝突。第三章李昂〈彩妝血祭〉的女性歷史傷痕再現書寫,從二二八平反運動凝聚的集體記憶,析論屠殺事件對女性造成的傷痕歷史。李昂如何以「彩妝」的寓意,批判父權歷史的荒謬與性別壓迫,進而省思女性意識覺醒抗衡父權歷史的意義。第四章李喬《埋冤1947埋冤》的女性創傷與療癒書寫,析論二二八歷史事件對女性生命史的影響。女性因父權暴力與政治迫害的創傷,如何以宿命、堅毅的意志、信仰力量進行自我療癒和面臨困境。最後反思寬恕對消解女性歷史傷痕的寓意。第五章結論,回顧本文各章節論點,析論政治解嚴後,作家以二二八書寫對女性傷痕歷史的關懷。
綜觀本文,台灣社會邁向後解嚴時期,民主自由的社會也更趨進步成熟。當二二八歷史事件被關注與反省時,女性的歷史傷痕不容忽視,以及省思父權思維對女性生命經驗的影響。

The political solution, the atmosphere of free liberal and free of speech announced the end of cultural anarchy. The major depiction of anarchy era considered the unspeakable issues were facing challenges and decompositions piece by piece. The writers of Taiwanese literature talked with the vibration of era and political thinking from the collective memory, identification recognization, gender politician, through historic standpoint. This research anazlyzed the background of 228 event through Chen Ye’s “Mud River”,Lee Ang’s “Color Blood Sacrifice” and Li Qiao’s ”Buried InIustice in 1947” to understand the female historic scars, historic memory and the gender politician’s connections.
The first chapter, the introduction, the research motivation and purpose were stated in this chapter. In chapter two, Chen Ye’s “Mud River” through the females’-scar memory writing, firstly explored the females’educational rights, economic independence and marriage autonomy deprived due to the thinking of patriarchal society. As a result, the females’ societal position was marginalized and was materialized. During martial law period, the white terror and national violence lead to females’ scar memory, twist females’ life history, and tear mother-daughter relationship between two generation. In chapter three, Li Ang’s “Color Blood Sacrifice”, the work of a political writing, depicted female writers initiated the meaning of feminine issues and national identity from the solution period. From the content of collective memory cohered from the 228 redress event, researcher analyzed the scar history of females. From females’ power of redemption from the political persecution and gender oppression, researcher reflected the meaning of females’ awareness against the patriarchal history. In Chapter four, Li Qiao’s “Buried Injustice in 1947 ” analyzed in order to obtain a better picture of the females’ mindful issues of the political widows and persecuted females under the patriarchal violence and the traumatized mind and body caused by the political persecutions. The persecuted windows raised their offsprings all by themselves, during which they relied on the fatalism, the perseverant steadfastness, religious belief and the use of power of forgiveness to undergo self-cure process. In chapter five, the conclusions were drawn and reflected the point of view of previous chapters and the gender writers’ 228 writing’s political and females’ caring from different generations.
In sum, Taiwanese society steps into the post-martial law ear. The liberation of democratic society has progressed to a new different level. In retrospection, when we concerned with the 228 historic event , we should not overlook the historic scars of women and reflect the gender order of patriarchal thinking. We should focus more on the impact of those events on women.
URI: http://hdl.handle.net/11455/95514
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Appears in Collections:臺灣文學與跨國文化研究所

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