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| 論文名稱 | 寄宿學校的哀歌 瓦康唐卡的調節:莫馬戴《𨑨迌囝仔》中原住民Pai的藥輪轉向 |
| 發表日期 | 2017-08-01 |
| 論文收錄分類 | 其他 |
| 所有作者 | 羅宜柔 |
| 作者順序 | 第一作者 |
| 通訊作者 | 是 |
| 刊物名稱 | 中台學報 |
| 發表卷數 | 27 |
| 是否具有審稿制度 | 是 |
| 發表期數 | 4 |
| 期刊或學報出版地國別/地區 | NATTWN-中華民國 |
| 發表年份 | 2017 |
| 發表月份 | 8 |
| 發表形式 | 紙本 |
| 所屬計劃案 | 校內個人計畫 |
| 可公開文檔 |
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| 可公開文檔 |
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| 可公開文檔 |
[摘要] :
卡利索印第安學校（Carlisle Indian School）之督導普拉特（Henry Pratt）於1879年曾以「印第安不滅，人性不彰」（Kill the Indian, Save the Man）作為創設原住民寄宿學校之標語，據此不難 想像此類印第安寄宿學校將對印第安文化進行何等恐怖迫害。1891年，三位印第安小孩決定逃出位於奧克拉荷馬州安納達科（Anadarko）的印第安寄宿學校，不料途經大風雪，加上不諳野外求生，最後凍死返鄉途中。此孩童凍死事件乃凱歐瓦（Kiowa）族大事，甚至被列入凱歐瓦傳承的圖像曆（pictorgraphic calendar）內，也因此鮮少撰寫劇本的北美原住民作家莫馬戴（N. Scott Momaday）特別為此而發表了《𨑨迌囝仔》（The Indolent Boys）作為「文化記憶，更是（代表族民心中）永遠無法磨滅的痛」（Momaday 2007: 5）。
本文一開始即針對十九世紀末美國原住民印第安學校的境況加以概述，反映美國白人文化與印第安文化的激烈衝突，並以卡利索印第安學校（Carlisle Indian School）督導普拉特（Henry Pratt）的學校標語作為代表。接著分析《𨑨迌囝仔》一劇的分幕分景架構，以之與印第安傳說「藥之巨輪」的4*4結構相互對比，論證莫馬戴作為知名的「文化調節者」（cultural mediator; Konečná 12）與文化仲介者（cultural broker; Fiorentino 63），如何費心將藥之巨輪的元素納入劇本中，希冀其發揮文化調節的象徵意義。
《𨑨迌囝仔》全劇雖以真實事件為撰述起點，但透過虛構的印第安青年Pai，使其歷練於白人文化和族人智慧的雙向互動、詰問與對談，最終達成瓦康唐卡式的文化調節與療癒目的。
[英文摘要] :
Henry Pratt, Supervisor of Carlisle Indian School, has announced a notorious slogan in 1879, “ Kill the Indian, Save the Man,” as the motto of all American Indian boarding schools and thus, a slaughter of Indian kids and cultures was launched. In 1891, three Indian kids, running away from the boarding school located in Anadarko of Oklahoma, died on their way home. Noted as one of the most unforgettable events of Kiowa, the very event has been listed in Kiowa’s pictorgraphic calendar. N. Scott Momaday, generally known for his fiction writing, composed a play, The Indolent Boys, as the embodiment of tribal, cultural memory to manifest the everlasting pain of the tribe (Momaday 2007: 5).
Focusing on Momaday’s The Indolent Boys, this paper first of all outlines the history of American Indian boarding school in the late nineteenth century; next, we pose attention on Momaday, the “cultural mediator” (Konečná 12）and “cultural broker” ( Fiorentino 63）and his play, to examine how a constantly progressing and balance in the indigenously Wakan-Tanka mysterious power of Medicine Wheel is operating, and how a vivid interaction is portrayed among the characters such as John Pai, teachers of the white (as Wheritt and Carrie), and the tribal people.
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