查詢結果分析
來源資料
相關文獻
- 成為原住民的「眼睛」--論夏曼.藍波安《天空的眼晴》與《大海之眼:Mata nu Wawa》中的「原民現身」
- 「海/岸」觀點:論臺灣海洋散文的發展性與特質
- 論夏曼.藍波安與廖鴻基海洋書寫的差異
- 殊途同歸:試論夏曼.藍波安與廖鴻基海洋書寫的異同
- Tao Fishermen and the Sea: Shammon Lanpoan's Memories of Waves
- 試論《航海家的臉》與《老海人》(2002~2009)時期夏曼.藍波安的書寫策略
- 夏曼.藍波安作品之認同書寫研究--一個人文地理學的解讀
- 語言、實踐、信仰--夏曼.藍波安海洋文學探析
- 「臺灣海洋文學」的成立及其作家作品
- 夏曼.藍波安《沒有信箱的男人》中達悟族「主體性」與日治時期族群接觸研究
頁籤選單縮合
| 題 名 | 成為原住民的「眼睛」--論夏曼.藍波安《天空的眼晴》與《大海之眼:Mata nu Wawa》中的「原民現身」=Becoming the "Eyes" of Indigenous Peoples: Présence Indigène in Syaman Rapongan's Eyes of the Sky and Mata nu Wawa |
|---|---|
| 作 者 | 郭曉琳; | 書刊名 | 臺大中文學報 |
| 卷 期 | 86 2024.09[民113.09] |
| 頁 次 | 頁101-137 |
| 分類號 | 863.8 |
| 關鍵詞 | 夏曼.藍波安; 達悟文化; 原民現身; 海洋文學; Syaman Rapongan; Tao culture; Présence indigène; Marine literature; |
| 語 文 | 中文(Chinese) |
| DOI | 10.6281/NTUCL.202409_(86).0003 |
| 中文摘要 | 自八十年代以降,臺灣原住民文學及海洋文學漸受矚目,近年研究者更積極探問原民文化的海洋信仰之於臺灣文學的影響。臺灣達悟族作家夏曼.藍波安(Syaman Rapongan)在《天空的眼晴》(2012)與《大海之眼:Mata nu Wawa》(2018)皆強調達悟族的眼睛意象:「天空的眼睛」在達悟族語意指星星,而達悟拼板舟所刻的圓形太陽紋「船眼」,能為出海的達悟族人避邪佞、保平安和指引方向,是相當重要的傳統圖騰。兩部作品重新演繹達悟傳統文化中的「眼睛」,在加強傳統文化作用之餘,也賦予它現代性的特徵。本文擬從「成為原住民」(becoming indigenous)的概念出發,通過分析兩部小說的眼睛意象,討論作家在作品中運用文化銜接(cultural articulation)、展演性(performativity)和語言翻譯(translation)的書寫策略,以及比較mata no angit(星星)和mavaheng so panid(黑鰭飛魚)兩組詞語的文化翻譯,以指出其作品建構當代達悟原民主體的意圖。夏曼.藍波安以「原民現身」的文化行為進入臺灣文學以至世界文學場域,他的原住民書寫以在地觀點及游牧視域介入華文文學場域,展現「臺灣南島原住民族」的居間(in-between)狀態,也開拓了華文文學的想像之路。 |
| 英文摘要 | Since the 1980s, there has been a growing research interest in Taiwan's indigenous literature and marine literature. One of the prominent indigenous writers, Syaman Rapongan, highlights the significance of eyes in Tao culture in his works Tiankong de yanjing (Eyes of the sky, 2012) and Mata nu Wawa (Eye of the sea, 2018). In the Tao language, "mata no angit" (eyes of the sky) refers to stars, and the circular sun patterns featured in the tatala's eye totem serve as an important tribal symbol, protecting against evil spirits, ensuring safety, and guiding direction during fishing. It is noteworthy how Rapongan reinterprets the concept of "eyes" in Tao tribal culture, imbuing it with modern meaning in his writing, and reinforcing the significance of Tao tradition with the mutual symbol "eyes" in two literary works. By illustrating his writing strategies regarding cultural articulation, performativity, and translation, as well as cultural translation by comparing "mata no angit" (stars) and "mavaheng so panid" (black-winged flying fish), this article explores the conceptual framework of "being indigenous," emphasizing the eye imagery in Rapongan's novels. As a writer of Tao indigenous descent, Rapongan engages with both Taiwanese and global literary spheres by employing the concept of "présence indigène" (indigenous presence). Through his indigenous writing, he intervenes in the Sinophone discourses with a native perspective and nomadic vision. His work showcases the in-between status of the Austronesian peoples in Taiwan, thus opening up the path of imagination for Sinophone literature. |
本系統中英文摘要資訊取自各篇刊載內容。