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題名：菲利斯．惠特利，哈麗雅特．雅各斯，佐拉．尼爾．赫兒士頓和瑪雅．安琪羅之想像神話文本
作者：陳瑞卿 引用關係
作者(外文)：Chen, Rui-Ching
校院名稱：國立成功大學
系所名稱：外國語文學系碩博士班
指導教授：劉開鈴
學位類別：博士
出版日期：2007
主題關鍵詞：文化神話；神話文本；集體意識；講故事；聲音；性別；種族；gender；race；collective consciousness；voice；mythic text；cultural myth；storytelling
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此論文運用霍洛韋(Karla F. C Holloway)的比喻「神話文本」，來檢視惠特利(Phillis Wheatley)、雅各斯(Harriet Jacobs)、赫爾士頓(Zora Neale Hurston)及安琪羅(Maya Angelou)的個人自述，以便探索此四位非裔美籍女性作家如何各自創造想像的神話文本，來同時性與非同時性彼此對話並修正對方及各自當代男性作家。藉此理論方法，我發現惠特利在《論各類宗教道德主題詩》(Poems on Various Subjects Religious and Moral)裡，融合清教徒贖罪神話與被俘敘事形式來創造她的神話文本；由於惠氏自身聯繫于黑人奴隸同胞，她得以聲稱其非洲身分，並連繫過去的非洲文化群體。 雅各斯在《少女黑奴生活記事》(Incidents in the Life of a Slave Girl) 裡，顛覆基督教神話以創造她的神話文本，她強烈抨擊奴隸制度和偽善的白人蓄奴基督徒。由於其反叛精神，她修正了主流宗教教義及被動式的基督教婦德和母性定義。而祖先聲音的記憶、群體族裔的幫忙及對孩子的母愛，使她得以成為逃亡奴隸。赫爾士頓以特有的黑人民間故事敘事來創造其神話文本，她把此故事敘事稱為語言能力並聯想為女性祖先之聲音。透過此能力，《在灰塵蹤跡路上》(Dust Tracks on a Road)，她敘述了個人及艾頓村(Eatonville)的群體歷史。雖然村民在她母親臨終時臥床剝奪此說話能力，在《騾子與男人》(Mules and Men)裡，她返鄉深入南方偏僻地區，尋求具有巫術的母性人物並收集童年期間所聽到的民間故事。透過返家之旅，赫氏得以自我連繫過去種族文化群體。安琪羅從黑人種族文化根源裡創造出她的神話文本，並且特意地把個人歷史與非裔美籍大社會政治環境相比對。由於自我意識及對祖先、家庭與文化群體之認同，安氏在《我知道關進籠裡的鳥兒為何唱歌》(I Know Why the Caged Bird Sings)裡，再創自我及其黑人同胞仍須遭遇到制度化的種族偏見。她結合了個人生命和黑人群體歷史，是故她的自我發展明顯地與黑人文化群體互相連繫，因而表達了文化群體之聲。在《天籟之歌》(A Song Flung Up to Heaven)裡，她述說了回歸非洲之旅後的生活並如何成為一位獨立自主黑人女性作家，此書以《我知道關進籠裡的鳥兒為何唱歌》首行作為結語。
總之，在述說各生活階段有關種族及性別成長過程中，此四位作家服膺或反對各式上下文，互相指涉地再現自我。透過語言的記憶，她們察覺到集體自我並清楚地在想像的神話文本裡表達了文化群體之聲音。
Drawing from Holloway's figurative use of the“mythic text,”this dissertation examines the first-person narratives of Phillis Wheatley, Harriet Jacobs, Zora Neale Hurston, and Maya Angelou so as to discover how these four Afro-American women writers originate their varied mythic texts, synchronically and diachronically revising both one another and their male counterparts in their own times. With this theoretical approach, I find out that in Poems on Various Subjects Religious and Moral Wheatley originates her mythic text from the Puritan redemption myth, which is blended with the Puritan captivity narrative form, associates herself with her enslaved fellowmen, claims her African identity, and connects to her African communal past. Jacobs in Incidents in the Life of a Slave Girl originates her mythic text by subverting the Christian myth to strongly attack slavery and the hypocritical white Christian slaveholders. With her spiritual rebellion, she further revises the dominant theology, passive Christian womanhood and motherhood. Her memories of an ancestral voice partially empower her to successfully become a fugitive slave along with communal help and maternal love for her children. Hurston originates her mythic text from the black folkloric storytelling narrative and terms it the power of words, which she associates with her female ancestral voice. Through this power, in Dust Tracks on a Road she relates her personal history and retells the history of her Eatonville community. Although the community deprives her of this speaking voice on her mother's deathbed, in Mules and Men she returns to her Southern black rural community to search for a mother figure with conjuring power and to collect the folklore that she heard during her childhood. This homeward journey has her reclaim her past connection with her own ethnic cultural community. Angelou originates her mythic text from her black ethnic cultural roots and deliberately parallels her personal history with that of the grand Afro-American socio-political surroundings. Due to her self-consciousness and identity with her ancestors, family, and community, in I Know Why the Caged Bird Sings (1970) she invents her self and recreates the time when Afro-Americans still have to encounter institutionalized racial prejudice. Because she integrates her personal life with the communal history, she clearly connects her self-development with her ethnic community and thus expresses a communal voice. She relates her life after her homeward trip to Africa and eventually becomes an empowered black woman writer in A Song Flung Up to Heaven, in which she concludes the book with the first line of I Know Why the Caged Bird Sings.
Overall, these four writers intertextually
represent themselves in/against various contexts, while evolving their racial and gender selves during the varied phases of their lives. Through the memories of words, they are conscious of their collective self and clearly express their communal voice in their “mythic text.”
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