政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/103125
English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  全文筆數/總筆數 : 110088/141038 (78%)
造訪人次 : 46392239      線上人數 : 815
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
搜尋範圍 查詢小技巧：
  • 您可在西文檢索詞彙前後加上"雙引號"，以獲取較精準的檢索結果
  • 若欲以作者姓名搜尋，建議至進階搜尋限定作者欄位，可獲得較完整資料
    •  進階搜尋


    請使用永久網址來引用或連結此文件: https://nccur.lib.nccu.edu.tw/handle/140.119/103125


    題名: （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
    其他題名: (To) The Eternal Reader and Writer: An intertextual analysis to Chun-Ming Huang`s three genres of ";Fighters, Cheers!"
    作者: 林克明;黃惠禎
    Lin, Ke-Ming;Huang, Hui-Chen
    關鍵詞: 黃春明;戰士，乾杯!;台灣文學;原住民;互文性
    日期: 2010-12
    上傳時間: 2016-10-21 12:00:49 (UTC+8)
    摘要: 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.
    關聯: 臺灣文學學報,17,99-132
    資料類型: article
    顯示於類別:[臺灣文學學報 THCI Core] 期刊論文

    文件中的檔案:

    檔案 描述 大小格式瀏覽次數
    17(p.99-132).pdf2375KbAdobe PDF25626檢視/開啟


    在政大典藏中所有的資料項目都受到原著作權保護.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    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。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    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。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - 回饋