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專書(含篇章)及其他著作名稱	Going Indigenous: Voices of North Amrican Native Plays
專書出版日期	2011-05-01
專書類別	紙本
是否為專書	是
使用語文
專書是否經外部審稿程序或公開發行出版	是
作者順序	第一作者
通訊作者	否
出版年	2011
出版月	1
出版地
出版者(社)	Taipei
ISBN編號	978-986-6085-05-5
所屬計劃案	promotion
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[摘要] :
摘要
《深入原民性》的標題乃是參考杭朵伏(Shari Huhndorf)的英文著作Going Native而成，由於杭朵伏著作中的“Native”是以美國原住民為主要焦點，而本書討論的作品有來自加拿大泰勒(Drew Hayden Taylor)的劇本，另有蜘蛛女劇場(Spiderwoman Theater)與其女兒莫吉卡(Monique Mojica)的作品，此家族雖被列為美國原住民戲劇的範疇，但由於此家族亦常住加拿大，與加拿大有一定連繫，因此本書英文遂以Going Indigenous為名，以與杭朵伏的Going Native有所區隔。
何謂｢原民特性｣?仔細深思後，或許可以羅列上百種原民特性，但與自然的關係，還有原民環中環(circles-upon-circles)，環環相扣的概念等，當是最常被提及的兩大原民特質。本書導論之後，第二章透過物活主義(hylozoism)來解讀泰勒的《愛馬的小女孩》(Girl Who Loved Her Horses)和黃袍(William S. Yellow Robe, Jr.)的《議事團》(The Council)，以章除論述原住民｢萬物皆有生｣的物活概念外，更透過晨尼的文本脈落論述(contextual discourse)，一較原住民與生物課本中常見的生物分類法。其次，本書第三章討論原住民故事中最引人入勝的搗蛋者(trickster)角色。討論搗蛋者之作品繁多，且多數一定從搗蛋者的幽默表述為開端，但專門探討戲劇中的女搗蛋者則不多見，因此透過莫吉卡針對寶嘉康蒂(Pocahontas)的傳說而使用於《寶嘉康蒂與藍裔》(Princess Pocahontas and the Blue Spots)中的變形手法，本書希望在討論搗蛋者之幽默寫作中，尋出另一種討論搗蛋者文學的可能。在分析了兩種原住民文學中常見的兩大議題：自然生物和搗蛋者，本書最大的嘗試即在發掘專屬南美庫納族(Kuna)的手工技藝—絈菈(mola)拼布，並研究亦屬庫納族的蜘蛛女劇場如何活用絈菈技藝於其劇《記憶之維繫》(Persistence of Memory)中。所謂｢故事編織｣(story-weaving)或許老生常談，但蜘蛛女劇場卻常用且善用此種來自手工編織的技巧，將之植入其與個人相關、亦是族群攸關的舞台故事中，此種｢絈菈美學｣(mola aesthetics)的展現，當然是原民特色之一。
總之，從物活、生態分類、女搗蛋者，到絈菈美學，本書從通則化下的原民性為開端，試圖逐步深入原民特質，探析其如何透過文字、舞台、甚至手工藝的展演而發聲，以勾勒更多彩的原民戲劇。

[英文摘要] :
The title of this book Going Indigenous is inspired by Shari Huhndorf’s Going Native (2001). Huhndorf, getting her idea by Dances with Wolves, intends to depict Euro-Americans’ imagination in Going Native while in this book, Going Indigenous, mainly, I propose my research on the indigenous plays composed by the indigenes themselves. To some extent, Going Indigenous is my own “going native” imagination to manifest different miens of the indigenous drama.
After the introduction of the first chapter, the second chapter theorizes hylozoism in the reading of Drew Hayden Taylor’s Girl Who Loved Her Horses and William Yellow Robe, Jr.’s The Council. The third chapter demonstrates another famous indigenous feature— trickster/trickSTAR and the transformative power in Monique Mojica’s Princess Pocahontas and the Blue Spots. Chapter Four introduces an indigenous craftsmanship – the Kuna people’s mola to read Spiderwoman Theater’s play, Persistence of Memory. From hylozoism, trickSTAR to mola reading, this book starts my journey of “going indigenous” by two general indigenous notions on Nature and a legendary character, and ultimately, it ends by the combination of an indigenous craftsmanship and story-weaving. Going Indigenous intends to dig out the voices and especially, the colorful and multiple readings of the North American plays.

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