施叔青“台湾地区三部曲”的地景书写与身份认同  

Landscape Writing and Identity of the Taiwan Trilogy by Shih Shu-ching

作　　者：马海洋 Ma Haiyang

机构地区：[1]南京大学中国新文学研究中心

出　　处：《华文文学》2022年第2期32-39,共8页Literatures in Chinese

摘　　要：施叔青的“台湾地区三部曲”经由庶民生活切入台湾地区的百年变迁史,表现出深切的现实关怀和寻觅身份的救赎意念。小说借助地景书写重返逝去的年代,复现清朝、日据以及光复后的地理景观。地景既关联政治律动又隐含时代话语和权力规训,与历史、记忆、族群以及身份等休戚相关,并具有形塑共同体意识的符号学意义。通过对“台湾地区三部曲”中地景书写的分析,可探究台湾地区地景呈现下的空间和地方样态,地景在初始意义之上于“本国凝视”和“帝国凝视”的交相作用中不断被权力形塑所延伸出的意义增殖,以及由地景变迁所牵涉出的创伤记忆和身份认同的交缠,思考穿越地景遮蔽与复活凝定于历史场域中“身份遗骸”的必要路径。Shih Shu-ching,with her The Taiwan Trilogy,cuts in one hundred years’history of transformation in Taiwan by way of ordinary people’s lives,expressing her deep realistic concerns and her consciousness of redemption in seeking identity.Relying on landscape writing,the novel initiates a return to the past years,reproducing the geographical landscapes of the Qing dynasty,Japanese occupation and the Taiwan Restoration,landscapes being associated with politics and also implying the discourse of the times as well as disciplinary power,closely related to history,memory,ethnic groups and identity,with the semiotic significance of shaping the consciousness of a community.By analyzing the landscape writing in the Taiwan Trilogy,one can explore the space represented in such landscapes and their local patterns,the added meaning extended from the shaping of power,in the interaction of home country gazing and empire gazing based on the initial meaning of landscape,as well as the entanglement of traumatic memory with identity,involved in the landscape transformation while giving thought to the inevitable path that goes through the concealment of the landscape and the remains of identity revived and frozen in the site of history.

关 键 词：“台湾地区三部曲” 地景书写 权力规训 创伤记忆 身份认同 

分 类 号：I207.4[文学—中国文学]