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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/68457

    Title: 謝霜天《梅村心曲》的人物敘事分析
    Authors: 楊碧君;Yang,Bi-jun
    Contributors: 客家語文研究所
    Keywords: 客家文學;謝霜天;《梅村心曲》;敘事分析
    Date: 2015-08-27
    Issue Date: 2015-09-23 11:35:52 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 摘要
    ;By Close Reading of New Criticism and the third person’s limited perspective (internal focusing), this study analyzes and investigates the character’s narratives and plots of Heart’s Melody in Plum Village. Apart from the literature reviews in chapter 1 and introduction to Hsieh, Shuang-Tian’s profiles and works in chapter 2, it dilates “Ten essays on Hsieh, Shuang-Tian” “Understanding Hsieh, Shuang-Tian” and 3 books in her later periods published by the department of cultural affairs, Miaoli County: “Spring Walks through My Heart,” “Reminiscence to the Fire Basket,” and “Back to the Bank of Cattle Hill.”
      In 1976, Hakka literature writer, Hsieh, Shuang-Tian, won the second “National Award for Arts” by her novel “Heart’s Melody in Plum Village.” The main character, Lin, Su-Mei, is based on her sister-in-law. It depicts the Lin’s chase for fields and gardens and home, a journey of “heart.” More than 40 years, it started from the marriage to Wu’s family in “Plum village,” a Hakka mountain village at her 22 to settle down in a new home at her 65. Lin came from a farm family, married to a farm family and paid her own lifelong toil to the farm. No matter facing what sorts of difficulties, she could always keep on fighting, which expressed entirely a typical Hakka woman.
      The narrator’s voice, by its imagination, was expressed in the whole text. Through the wind, cloud, moon and sun in nature and the changing landscapes in fields and gardens, carry the writer’s view into words and reveals her life view of loving pastoral life. The continuous “rhythm” and flashback of memory push plots forward, which were mingling with the prophecy from future and expanded the tension of reading. In the book, it uses many Hakka terms to depict the Hakka special customs, which made the texts very hakkaly.
    Appears in Collections:[客家語文研究所] 博碩士論文

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