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題 名 | Reappraisal of the Captivity Narrative Tradition in the Searchers, Taxi Driver, the Deer Hunter and Dances with Wolves=電影《搜索者》、《計程車司機》、《越戰獵鹿人》及《與狼共舞》中對「羈縛」敘事傳統的重新檢視 |
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作 者 | 賈繼中; | 書刊名 | 人文社會學報. 國立臺灣科技大學 |
卷 期 | 4 2008.03[民97.03] |
頁 次 | 頁69-85 |
分類號 | 987.952 |
關鍵詞 | 羈縛敘事; 遭俘者與營救行為; 族群與文化認同; 異文化; 包容與多元的社會; The captivity narrative; Captives and rescue mission; The racial and cultural identity; The alien culture; A tolerant and multi-cultural society; |
語 文 | 英文(English) |
中文摘要 | 美國文學中的「羈縛」敘事傳統可以回溯自1682年。當時的Rowlandson女士就曾在她的著作中記錄被印第安人羈囚11週的心路歷程。而隨著愈來愈多的歐洲人移民新大陸,更多類似的遭遇也不斷上演。然而大部分這類型的敘事模式都清一色的著墨於白人的英勇救援以及被俘者如何歷經劫難重返社會。而值得玩味的是20世紀美國幾位重要電影導演紛紛利用此一傳統作為敘事框架,但主要用意卻是要重新檢視含蘊其中的困境難題與焦慮。約翰福特在其1956年的西部片經典《搜索者》當中安排了一幕令人大感訝異的場景: 女主角在遭印第安人俘虜多年之後,當她遇見尋覓她多年的叔叔時,竟不願跟他重返家園,從此處切入探究引申出更深層的社會批判與族群議題。在這些電影當中主角不但歷經劫難,但也遇到文化自我認同危機,根深柢固的族群偏見與文化優越感也經由這些自我質疑的論述而得以被重新審視,形成更多的議題與辯論,從而開創包容與尊重多元文化社會的可能性。 |
英文摘要 | The captivity narrative in American literature can date back to 1682 when Mary Rowlandson published the account of her 11 week captivity by Narragansett and Wampanoag Indians in New England. Since that time this literary tradition has enjoyed a tremendous popularity. As more Europeans migrated to America, more stories of captivity by Indians began to spread, most of which focus on the whites’ battle against the native Indians over the territorial control and they almost unanimously end on a note of the eventual victory of the American whites over the Indians and of how the captives endure great pain but get rescued and rejoin the white society. The captivity narrative tradition is once again employed by John Ford in his 1956 movie The Searchers, in which the captivated white female Debbie initially refused to be saved by Ethan Edwards played by John Wayne. By staging the drama of refutation this film attempts to reappraise the captivity narrative as a legitimate and sanitized convention to erase the tension and problems behind it. One kind of tension that might cause trouble in the captivity narrative is the scenario that the female captive might develop intimate relationship with the captor, usually an Indian, thus diminishing the white Americans’ cultural superiority and confidence. In these Hollywood films one can discern a common theme which challenges the rescuing hero’s narrative authority and demonstrates the captive’s implicit and schizophrenic urge to resist the hero’s rescue and would rather choose to undergo another kind of cultural transformation. These captives pose a threat to the stability and self-complacency of American culture, raising such issues as how to cultivate a more tolerant and multi-cultural society. |
本系統中英文摘要資訊取自各篇刊載內容。