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題名：與死亡共舞：論彤妮摩里生之三部曲中種族、文本與性別越界
作者：王淑雱
作者(外文)：Shu-fang Wang
校院名稱：高雄師範大學
系所名稱：英語學系
指導教授：張逸帆 博士
學位類別：博士
出版日期：1911
主題關鍵詞：重憶；歷史；種族；性別；文本；歷史編撰法；rememory；history；race；sex；text；historiography
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本論文旨在將彤妮摩里生三部曲：《寵愛》、《爵士樂》及《樂園》解讀成一部重新省思美國歷史以及其編纂法的〝另類〞歷史文本。歷史是需不斷檢驗。彤妮摩里生在三部曲中揭露那些所謂正統的美國歷史是具排他性。黑人的歷史亦是美國歷史，但在正統的美國歷史脈絡中，攸關黑人的經驗、文化苦難及迫害經常是被消音的，這跟美國長久以來的種族歧視有關；種族甚至於膚色歧視，不單是現今美國的社會問題，它存在美國歷史的脈絡中。在三部曲中，彤妮摩里生借由死亡的意像來描繪出黑人在主流及所謂的正統美國歷史中是屬於“被消音”，彤妮摩里生透過記憶、重憶讓消音的黑人的歷史重新發聲。在三部曲中，彤妮摩里生亦探討黑人女性的定位問題，黑人女性除需面對種族歧視問題亦飽受性別歧視問題所惱，黑人女性是弱勢中的弱勢。身為黑人女性作家，彤妮摩里生認為她有責任讓消音的黑人女性發聲就如同她捍衛自己身為黑人女性作家的論述主體性。
This dissertation aims to (re)read Toni Morrison’s three seemingly different novels, Beloved (1987), Jazz (1992) and Paradise (1998) as a historiographical trilogy. Though Morrison herself has addressed her Beloved, Jazz and Paradise as a trilogy, “there has been a curious critical silence” (Tally “Morrison Trilogy”75). The most obvious inter-textual linkage among these three novels lies in their interrelated time frame and setting. Each individual novel of Morrison’s trilogy is “an extension of one thing or another” which “encompasses a wide cross-section of African life” in different phases and locations (qtd. in Joyner 17, Tally Story of Jazz 9).
Morrison’s historicizing her trilogy aims to invite her readers to bear witness that “all attempts to construe the past are interpretive” (Duvall 17). Morrison’s trilogy is also her first collection showing that she is clearly engaged in investigating the interrelationship between the matters of history and ideologies of racial/sexual differences. Morrison’s historiographical trilogy is oppositional to the grand narrative of American history. In the textual body of Morrison’s historiographical trilogy, the silence of black American history is outlined and the embodiment of her outlawed characters are re-memoried in black historical texts. Furthermore, while reclaiming the silenced black history, Morrison asserts her discursive authority as a black woman writer through her literary techniques. Her participatory reading repositions her readers as ideal narrative readers, and dis/mantles the monolithic grand narrative. Her narratives unravel the contradiction and discontinuities in the grand narrative. And in the crevices which result from the grand narrative’s self-contradiction and discontinuities, Morrison makes the voiceless heard.
As Barbara Hill Rigney observes, Morrison “is surely one of these ‘peripheral figures’ in terms of the dominant culture, central though she is to the contemporary literary scene” (2). Morrison’s mastery of narrative, and her literary accomplishments are redrawing the boundary of American history as well as white-supremacist literary history.
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