李喬《情歸大地》劇本與電影〈一八九五〉 比較研究

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Title:	李喬《情歸大地》劇本與電影〈一八九五〉比較研究
Authors:	莊沛祺;Chi, Chuang-Pei
Contributors:	客家語文研究所
Keywords:	李喬;情歸大地;一八九五;文學電影;比較研究;Li Qiao;Return to the Motherland;1895;Literature moive;Comparative research
Date:	2017-07-25
Issue Date:	2017-10-27 13:42:00 (UTC+8)
Publisher:	國立中央大學
Abstract:	本文第一章緒論，第二章針對李喬《情歸大地》和電影〈一八九五〉，在內容結構和情節上有所不同作比較分析研究。第三章從「精神分析學」觀點探討兩文本呈現不同的主題精神意識和土地認同思想。以及剖析兩文本中，客家族群在抗日戰鬥歷史洪流中的「集體心理意識」，和男女主角的心理意識作分析比較。根據拉岡的精神分析學觀點；兩文本都屬象徵界，但是透過文字與電影的符徵呈現，雖大不同，而真實界的慾望俾能達到激勵人心，讓社會族群走向和諧狀態，將真實界的慾望加以具體化是相同的。第四章從「新歷史主義」觀點分析兩文本，研究結果：李喬透過劇本描寫的一八九五抗日客家三秀才，比歷史文獻更貼近歷史。兩者賦予文學性或電影藝術性的改編正史，讓集體重返過去一八九五抗日的歷史場域，重拾客家先賢的「義民精神」與「保鄉護土」的歷史史實，這就是新歷史主義者所主張：文學文本應該積極地重寫過去，而不是被動地反映。第五章從「女性主義」的視角看兩文本的女性形象，研究結果：兩文本的婦女形象同樣都有傳統客家婦女的美德，不同的是《情歸大地》中的賢妹，跳脫客家傳統婦女的角色，允文允武，獨立自主性強，迎向自我實現，有現代女性主義的傾向；然而〈一八九五〉中的賢妹卻沒有著墨這些狀況。第六章總結論：文學家與影像工作者，分別用用不同的「他者」來敘說故事，各自悄悄地透露兒時的潛意識。兩文本皆重構歷史，爭取客家人對歷史的話語權來詮釋客家歷史，兩者同樣期待作品能夠鼓舞人心來關懷自己的土地與歷史！ ;Chapter 1 is Introduction.The analytical comparison between original script "Return to Motherland" by Li Qiao and its adapted film script "1895" in terms of their content structures and plots was discussed in Chapter 2. In Chapter 3, the different thematic mental consciousnesses and territorial identities in these two scripts were discussed from the psychoanalytic perspective. Additionally, the collective consciousness of Hakkas during anti-Japanese war in the mighty torrent of history was analyzed. According to Lacanian psychoanalytic theory, both scripts belong to the symbolic realms. Although their final products are different ( i.e. literature and film ), they both serve the same purpose which is to fulfill the desires in the real realm and this fulfillment can inspire people and lead the society to a harmonic state. The purpose of chapter four was to analyze the both scripts from New Historicism perspective. I concluded that the story of three Hakka Xiucais (one who passed the imperial examinations during Ming and Qing dynasties in China) depicted by Qiao Li is closer to the reality than other history literatures. The original script as well as the film original are based on official history which take readers back to the anti-Japanese war in 1895, so that they would, once again, feel the spirits of righteousness and territorial defense of Hakka ancestors. Just as what has been advocated in New Historicism, historical literature should actively rearrange the past instead of reflecting it passively. The main purpose of chapter 5 was to discuss female image depicted in the two scripts from Feministic perspective. I concluded that the female characters in both scripts demonstrated traditional virtues of Hakka women. The difference was that the female leading character, Xianmei, was depicted in "Return to the Motherland" as an independent and self-actualizing woman who was good at both physical and sedative activities. Her modern feministic-orientated personalities were different from the traditional images of a Hakka woman. However, Xianmei was not depicted the same in "1895". Chapter 6 laid out the conclusion. The writer and the film maker used their own third-person point of views to tell stories which somewhat revealed how their own childhood subconscious memories. Both of them tried to re-construct history. They fought for the Hakkas′ discourse right towards Hakka history. Both of them wished that their works could encourage people to be concerned about their territory and history.
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