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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/93357


    Title: 從《肉身寒單》、《看得見的鬼》探討孤魂意象的書寫意義
    Authors: 柯育鎮;Ke, Yu-Zhen
    Contributors: 中國文學系
    Keywords: 振鴻;李昂;肉身寒單;看得見的鬼;孤魂
    Date: 2024-01-17
    Issue Date: 2024-03-05 16:26:16 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 臺灣文學於戰後初期曾因政治及社會氛圍等因素,歷經數次路線之爭。相較於對故土的眷戀,另一種對新家園的想像也正萌發,女性作家於此更以鬼魅書寫,作為對抗傳統父權文化的方式之一。鬼魅書寫的運用在臺灣文學的發展,除了因歷史發展上臺灣多移民背景及島嶼環境外,更成為離開中原故土後「失根」恐懼的投射,卻成為女性擺脫傳統父權桎梏的契機。
    於《肉身寒單》中作者以自身經歷為軸,從數組對比中建構故事情節,包括斷裂/和諧、追尋/逃離、流浪/回家等。因此於本論文分析中,藉書中主角振鴻的空間歷程為討論主軸,觀察作為同志於台東-台北-返鄉的過程中,作者所欲傳達同志於社會中反覆追尋認同的企望,並於異地一次次失落後選擇復返的動機,最後如何透過與父親及童年記憶的和解,找到安定及認同感。並以陳思宏的《鬼地方》為參照,整理出文學中同志如同鬼魅般處境的隱喻及策略運用。
    而李昂《看得見的鬼》則在序言中便揭示了以「鹿城」隱喻「鬼國」,更比喻大國中心之外,處處鬼聲啾啾的隱喻,書寫身世淒涼、死於非命的女性們,透過書寫召喚女魂們復返鹿城,猶如傅柯「異質空間」的功能,透過為自己復仇或完成生前未竟心願達到主體性的彰顯,並以李昂《附身》為對讀,希望比對出女性與民俗意象間的書寫意義。
    筆者於分析臺灣文學中的鬼魅書寫時,除了文本細讀與分析外,引用了范銘如的「空間閱讀法」為徑,觀察性別、空間與文學的交集處潛藏的文學隱喻。相較於父權核心,女性及同志均處相對邊陲的位置,因此以振鴻《肉身寒單》及李昂《看得見的鬼》為例,分析當中同志與女性的鬼魅書寫運用意義,更可看出鬼魅於突破時空限制與性別邊界突破的可行性。
    ;In the early postwar period, Taiwanese literature went through several line disputes due to political and social atmosphere and other factors. Compared with the attachment to the homeland, another kind of imagination of the new home is also emerging. Here, female writers even use ghost writing as one of the ways to fight against the traditional patriarchal culture. The use of ghost writing in the development of Taiwanese literature is not only due to Taiwan′s multiple immigrant backgrounds and island environment in its historical development, it has also become a projection of the fear of “losing roots” after leaving the homeland of the Central Plains. It has also become an opportunity for women to get rid of the shackles of traditional patriarchy.
    In “The Cold and Cold Body”, the author uses his own experience as the axis to construct the storyline from multiple comparisons, including rupture/harmony, pursuit/escape, wandering/homecoming, etc. Therefore, in the analysis of this paper, the spatial journey of the protagonist Zhenhong in the book is used as the main axis of discussion, and the author observes the process of being a gay in Taitung-Taipei-returning to his hometown. The author wants to convey the desire of gays to repeatedly pursue identity in society, and The motivation behind choosing to return after being lost again and again in a different place, and finally how to find stability and identity through reconciliation with his father and childhood memories. Using Chen Sihong′s “Ghost Place” as a reference, we sort out the metaphors and strategic uses of the ghost-like situation of gay people in literature.
    In the preface of Li Ang′s “Visible Ghosts”, he reveals that “Deer City” is used as a metaphor for the “ghost country”, and also as a metaphor for the chirping of ghosts everywhere outside the center of the great country. It writes about women who have bleak life experiences and died unexpectedly. Summoning the female spirits to return to Lucheng through writing is like the function of Foucault′s “heterogeneous space”. It achieves the expression of subjectivity by avenging oneself or fulfilling unfinished wishes during life. Using Li Ang′s “Possession” as a counter-reading, I hope to compare Compare the writing significance between women and folklore imagery.
    When analyzing ghost writing in Taiwanese literature, in addition to close reading and analysis of the text, the author quoted Fan Mingru′s “spatial reading method” as a method to observe the literary metaphors hidden at the intersection of gender, space and literature. Compared with the core of patriarchy, women and gays are in a relatively peripheral position. Therefore, taking Zhenhong′s “Handan” and Li Ang′s “Visible Ghost” as examples, we analyze the significance of the ghost writing of gays and women, and more It can be seen that ghosts are feasible in breaking through time and space limitations and gender boundaries.
    Appears in Collections:[中國文學研究所] 博碩士論文

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