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| 題 名 | 人魚上岸--論李維菁《人魚紀》的女性身體經驗與自我覺醒=Mermaid Ashore: Female Bodily Experience and Self-Awakening in Lee Wei-Jing's The Mermaid's Tale |
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| 作 者 | 蔡文婷; | 書刊名 | 雲漢學刊 |
| 卷 期 | 50 2025.09[民114.09] |
| 頁 次 | 頁212-247 |
| 分類號 | 815.1 |
| 關鍵詞 | 李維菁; 人魚紀; 女性; 身體經驗; 自我覺醒; Lee Wei-Jing; The Mermaid's Tale; Women; Bodily experience; Self-awakening; |
| 語 文 | 中文(Chinese) |
| 中文摘要 | 童話故事中的人魚公主放棄海中的生活,以動人的歌聲換取一雙人類的腿,上岸追求愛情與永恆的靈魂。李維菁的《人魚紀》以人魚公主的故事隱喻,寫珍愛跳舞的夏天,在學習舞蹈的過程中,像上岸的人魚學會用新生的雙腿,學習穩穩地走路。小說觸及童年苦痛的成長過程,以及女主角夏天對於自身的性與身體所經歷的各種貶抑與壓迫。本文嘗試藉由艾莉斯.馬利雍.楊《像女孩那樣丟球》中所談論的女性身體經驗,及艾莉絲.迪艾波《月經不平等》中論述女性特有的月經經驗,探究李維菁《人魚紀》中女主角夏天的女性身體經驗,及在過往父權社會中一直遭到貶抑的身體與月經生命經歷。依此論述小說中的女主角夏天,在經歷童年的辛酸過往,與身為女性所遭受之父權凝視與邊緣對待,藉由跳舞找回自我的重心與力量及其自我覺醒的歷程。覺醒的人魚走出童話故事的愛情追求,也走出一個人不能跳的雙人舞,不再倚靠男性他人成就自我,用自己的雙腳在陸地上生活行走。夏天的國標舞之路,是李維菁書寫都會女子的完結篇,也是她用盡生命最後力氣的書寫。書寫始終是她堅持的舞步,一曲舞畢,放下傷痕與狼狽,離開海邊,學會昂首闊步,漂亮地走路。 |
| 英文摘要 | In the classic fairy tale, the mermaid princess abandons her oceanic life, trading her enchanting voice for a pair of human legs to pursue love and an eternal soul on land. Lee Wei-Jing's The Mermaid's Tale adopts this allegory to portray Xia-Tian, a girl passionate about dance, who, in the process of learning, resembles the mermaid acquiring new legs and struggling to walk steadily. The novel addresses the painful trajectory of childhood growth, as well as Xia-Tian's encounters with denigration and oppression regarding her sexuality and body. This paper employs Iris Marion Young's On Female Body Experience: "Throwing Like a Girl" and Other Essays, which discusses women's embodied experience, together with Elise Thebaut's Ceci est mon sang, which explores the particularities of menstrual experience, to examine the protagonist's bodily experiences in The Mermaid's Tale. The analysis highlights how Xia-Tian's body and menstrual life-long devalued in a patriarchal society-are reclaimed through the practice of dance. Through confronting the hardships of childhood and the marginalization under the patriarchal gaze, Xia-Tian regains her center of self and strength, embarking on a journey of self-awakening. The awakened mermaid not only transcends the pursuit of romantic love found in fairy tales but also steps out of a duet that cannot be danced alone, refusing dependence on a male partner to achieve selfhood. Instead, she learns to live firmly on her own feet. Xia-Tian's path in ballroom dance represents both the conclusion of Lee Wei-Jing's urban female narratives and her final effort in writing with the last of her strength. |
本系統中英文摘要資訊取自各篇刊載內容。