施叔青長篇小說的港台書寫; The Novel Study on Sue-Ching Shin during the Period in HongKong and Taiwan

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Title:	施叔青長篇小說的港台書寫;The Novel Study on Sue-Ching Shin during the Period in HongKong and Taiwan
Authors:	姜怡如;Yi-ru Chiang
Contributors:	中國文學系碩士在職專班
Keywords:	維多利亞俱樂部;施叔青;行過洛津;微醺彩妝;香港三部曲;Passing through Luo Jin;The Trilogy of Hong Kong;Victoria Club;Sue-Ching Shin;Tipsy
Date:	2008-06-28
Issue Date:	2009-09-22 09:13:44 (UTC+8)
Publisher:	國立中央大學圖書館
Abstract:	施叔青長達四十年的創作歷程，從早期對東西文化的反思，到現今的殖民、後殖民文化及移民文化的關注，她的確是一位不斷前進的作家。本論文試著從她六部有關港台的長篇小說－《維多利亞俱樂部》、《她名叫蝴蝶》、《遍山洋紫荊》、《寂寞雲園》、《微醺彩妝》、《行過洛津》，去揣想並還原她在創作的當口，是如何書寫香港與台灣。本論文共分五章，分述如下：第一章緒論，說明研究動機與目的、施叔青作品及研究概況、研究範圍與研究方法、論文的章節安排與架構。第二章香港百年傳奇，是從《維多利亞俱樂部》、「香港三部曲」推演出兩個創作焦點，即「東方－被殖民者卅西方－殖民者」以及「東方－被征服者卅西方－征服者」，揭露殖民者在殖民地的統治是依據各種歧視，去想像他們自己和塑造被殖民者。再從文本中的人物來分析，藉以明白在不同角色的撐持下，殖民者與被殖民者的不同樣貌。最後從小說的情節與結構、語言的特色、象徵的運用三方面來討論其藝術特色。第三章台灣世紀末風華，是就《微醺彩妝》討論其創作焦點，「複製卅模仿卅謔仿」殖民者總是想將自己的文化灌注到被殖民者身上，卻往往讓被殖民者經由模仿而後借力使力；「個人生命史及建築的記憶」藉由不同族群、階層人物的生命史，以及相關的地方建設和建築歷史，重建台灣的後殖民歷史記憶；「以假亂真、顛覆真假位階」媒體經常與商業利益結合，試圖操縱流行的品味。其次從飲食大觀園、嗅覺的記憶與感官精神的喪失、商品拜物的狂潮、建築空間的仿擬拼貼、官場現形記，五個部分來觀察台灣世紀末的浮華社會。最後從全知視角的書寫、斷片式的敘述、對位手法的使用來分析其敘述方法的運用。第四章鹿港?繁華?夢，是就《行過洛津》歸納出四個創作焦點，即「史實卅虛構－洛津現實與小說虛構的互滲」、「興盛卅衰落－從小說情節與人物命運看興衰的無常」、「雅致卅俗常－道貌岸然的自我本位」、「中心卅邊緣－權力的角力戰」。接著從清代洛津族群的墾殖及街市聚落的發展，觀察此時的洛津是一個族群的大熔爐，各族群的人民努力在這塊土地上耕耘，構築安身立命的所在。最後從人物的刻畫、全知視角的運用、敘述的語言特色、豐富的象徵手法來討論其藝術特色。第五章結論，總結前面各篇章的論點，並標示出施叔青對香港與台灣的書寫，及其文學的關懷。 With her forty-year writing process, which comprises both her early reconsideration for eastern and western cultures and now the concern for immigrants, post colonialism and immigration, Sue-Ching Shin is indeed an advanced writer. This research paper tries to show how she views Hong Kong and Taiwan through the six novels which she has written recently. Chapter One introduces the research motivation, research purpose, the works and research of Sue-Ching Shin, research range, research method, and research structural arrangement. Chapter Two describes the one-hundred-year Hong Kong legend, which see through the books, “Victoria Club” and “The Trilogy of Hong Kong” to infer that the colonists in the colonial areas use racial, cultural and religious discriminations to imagine themselves and to mold and cultivate the aborigines. This chapter also analyzes the characters in the books in order to classify the different role-playing between the colonists and the aborigines. The last part in this chapter is to discuss the artistic features of the novel. Chapter Three depicts Taiwan in the late 20th. century. This chapter discuss her writing focuses in the book, “Tipsy”: the colonists always try to instill their culture to the aborigines, but the aborigines often copy their way and manipulate the way better; the book rebuilds the historical memories of Taiwan with the life history of people from different races and social statuses, and with the related local construction and architectural history; the media is usually allied with commercial interests and tries to manipulate the fashion taste. Still another focus is to observe the late 20th. century Taiwan society with the five views of food, the loss of smell and sensation spirits, brand-worship, imitation of the architectural space, and the political black box. The last part of the chapter is to analyze her descriptive usage. Chapter Four entitles “Lukang, Prosperity, Dream.” This chapter concludes her writing focuses in the book, “Passing through Luo Jin,” which are historical reality v. fiction, prosperity v. decay, delicacy v. vulgarity, and center v. border. This chapter also discusses the Lukang immigrants and the city development from the Ching dynasty to show that the Lukang society at this period is a peaceful one. The last part of the chapter is to discuss the book’s artistic features. Chapter Five concludes the viewpoints in the former chapters and points out how Sue-Ching Shin views Hong Kong and Taiwan in the nineteenth and twentieth centuries. This chapter also shows her care for literature.
Appears in Collections:	[中國文學系碩士在職專班] 博碩士論文

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