English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  Items with full text/Total items : 92429/122733 (75%)
Visitors : 26449107      Online Users : 97
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
  • Adv. Search
    HomeLoginUploadHelpAboutAdminister Goto mobile version
    Please use this identifier to cite or link to this item: http://nccur.lib.nccu.edu.tw/handle/140.119/103125


    Title: (給)永恆的讀者與寫者:黃春明〈戰士,乾杯!〉三種文本的互文分析
    Other Titles: (To) The Eternal Reader and Writer: An intertextual analysis to Chun-Ming Huang's three genres of ";Fighters, Cheers!"
    Authors: 林克明;黃惠禎
    Lin, Ke-Ming;Huang, Hui-Chen
    Keywords: 黃春明;戰士,乾杯!;台灣文學;原住民;互文性
    Date: 2010-12
    Issue Date: 2016-10-21 12:00:49 (UTC+8)
    Abstract: 一九七三年,黃春明從一位偶然認識的魯凱族青年家裡牆壁上的照片,驚覺台灣原住民同一家的四個男人被敵人強迫徵召,去打敵人的敵人,其中三人並因此犧牲性命這樣舉世罕見的悲劇。一九八八年至二○○五年間,黃春明分別採用散文、劇本與新詩三種不同的文類,陸續發表記載這個故事的〈戰士,乾杯!〉系列文本。本論文將以黃春明創作的〈戰士,乾杯!〉三種文本出發,從散文、劇本、詩這三者形式上的比較與轉換的過程,找尋一個從寫者(writer)出發的互文結構,並藉此思考成為永恆讀者的可能。此外,從黃春明〈戰士,乾杯!〉的寫作過程來看,整個互文過程其實是由他對照片的閱讀所誘發的,因此本論文也將針對散文、劇本和詩這三種文本詮釋相片的可能性進行討論。最後,本論文將從三種文本內容的比較分析,了解黃春明如何透過文本的修訂深化主題的意義,以及一九八○年代台灣的原住民運動對於文本修訂的影響。
    In 1973, Chun-Ming Huang went a Rukai young man’s home and there he was shocked by a set of pictures of the young man’s family members. These pictures showed a tragedy that four males in a Rukai family were compulsorily conscripted into different feuding camps and three of them even lost their lives in wars and conflicts. From 1988 to 2005, Huang wrote this tragedy with the title, “Fighters, Cheers!” in the three genres of essay, play script, and poem, respectively. This paper starts with the discussion of the three genres of “Fighters, Cheers!” especially of the process of transformation and comparison among genres, in order to understand the intertextual structure of Huang’s works. This understanding will offer an approach for considering the possibility of being an eternal reader. Furthermore, given that Huang’s intention to write “Fighters, Cheers!” was evoked by his reading of the pictures in the Rukai young man’s home, this paper will also discuss how the three genres of essay, play script, and poem interpret these pictures. Finally, with the comparison of the contents of the three genres, this paper shows not only how Huang deepened the theme of this tragedy each time a revision was made, but also how the movement launched by the indigenous Taiwanese in the 1980s influenced Huang’s revisions.
    Relation: 臺灣文學學報,17,99-132
    Data Type: article
    Appears in Collections:[臺灣文學學報 THCI Core] 期刊論文

    Files in This Item:

    File Description SizeFormat
    17(p.99-132).pdf2375KbAdobe PDF1118View/Open


    All items in 政大典藏 are protected by copyright, with all rights reserved.


    社群 sharing

    著作權政策宣告
    1.本網站之數位內容為國立政治大學所收錄之機構典藏,無償提供學術研究與公眾教育等公益性使用,惟仍請適度,合理使用本網站之內容,以尊重著作權人之權益。商業上之利用,則請先取得著作權人之授權。
    2.本網站之製作,已盡力防止侵害著作權人之權益,如仍發現本網站之數位內容有侵害著作權人權益情事者,請權利人通知本網站維護人員(nccur@nccu.edu.tw),維護人員將立即採取移除該數位著作等補救措施。
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback