研究資料首頁-> 發表專書（含篇章）及其他著作
研究資料明細
| 專書(含篇章)及其他著作名稱 | 北美原住民的日常書寫： 以《星之拚織者》、《𨑨迌囝仔》與《無麂之徑》為例 |
| 專書出版日期 | 2020-09-01 |
| 專書類別 | 紙本 |
| 是否為專書 | 是 |
| 使用語文 | 外文 |
| 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 | 是 |
| 出版年 | 2020 |
| 出版月 | 9 |
| 出版地 | 高雄 |
| 出版者(社) | 翠柏林企業股份有限公司 |
| ISBN編號 | 978-986-5897-53-6 |
| 所屬計劃案 | 科技部計畫 |
| 可公開文檔 |
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[摘要] :
本書主要包含作者三篇論文，此三篇論文均討論北美原住民戲劇中的文化特色。此三篇論文所討論的劇本和議題分別為:
(一) 黃袍《星之拚織者》論及阿西尼波因族的星之拼布文化
(二) 莫馬戴《𨑨迌囝仔》討論凱歐瓦族的藥之巨輪
(三) 奇曲《無麂之徑》研究克里族(Cree)的克里詩學
於黃袍《星之拚織者》中，我試圖透過原住民星之拼布的拚接方法，交織以不同年代的原住民相關法律，透過原住民莫娜從明眼人而至不幸瞎眼無法再拚制星之拼布的現實，以及白人露安將重大情誼表徵的星之拼布當成商品販售之行為，相互對照下，不難看出星之拼布與其原住民拚織者所面臨來自白人的迫害與最終的哀傷結局。
《𨑨迌囝仔》則是莫馬戴改編凱歐瓦族學子被迫進入寄宿學校、思鄉逃跑，最終不幸凍死返鄉途中的實際事件所改編。改編的同時，作者莫馬戴以原住民文化的藥之巨輪串聯全劇，巧妙的將此種瓦康唐卡的動能融入角色與情節中，足證藥之巨輪亦是原住民的另一生活日常。
最後一篇論文為奇曲的《無麂之徑》，討論加拿大克里文化特色。本篇以克理詩學為主軸，從克里同理心、克里說故事精神，以及克里夢境靈視等，一探克里族奇曲的親身經歷，其寄宿學校血淚過程與最終的自(治)療。
以上三篇論文均曾於研討會發表，修改後分別於《小說與戲劇》、《中台學報》以及《長庚學報》出版。此次結集成書，除了後兩篇根據本系升等要求翻譯成英文外，翻譯的同時也增加更多內容，豐富原文。全文鈞經過校正，文章最後的參考書目均是保留當年投稿刊物的要求，因此並未全部使用MLA的寫法。
本人前次升等以「深入原民性」為標題，企圖深究原民特色，經過多年，卻驟然發現，這些原民特色，根本就是其日常生活的一部分。不論是面臨律法的壓迫，或寄宿學校文化的根除，原住民始終不忘其根深且內化的文化。從拼布文化、藥輪思想到克里詩學，也就是這些內化的思想與文化，方得陪伴原民度過重重難關。
關鍵字: 北美原住民文化，拼布文化，藥之巨輪，克里詩學
[英文摘要] :
Abstract
This monograph includes three published papers related to indigenous culture in three North American indigenous plays.
1. William Yellow Robe, Jr.’s The Star Quilter depicts star quilting culture in Assiniboine.
2. N. Scott Momaday’s The Indolent Boys demonstrates the Kiowa people’s Medicine Wheel and Wakan Tanka power.
3. Shirley Cheechoo’s Path with No Moccasins illustrates Cree poetics.
I interpret Yellow Robe’s The Star Quilter by means of the interweaving of star quilting culture and indigenous law. The indigenous woman, Mona, starts as a proficient quilter but ultimately becomes blind and can never quilt again. The Caucasian woman, LuAnne, sells star quilts which are gifts representing the friendship between her and Mona Both the star quilting culture and the star quilters (the indigenous people) have encountered oppression from Caucasian culture, and a sad ending is unavoidable.
In The Indolent Boys, Momaday depicts a historic event in which Kiowa children are forced to attend boarding school and attempt to run away but fail and die on the way home. Momaday dexterously connects the scenes using a common cultural concept, the Medicine Wheel. By imbuing the characters and plots with Wakan Tanka power, Momaday demonstrates that the Medicine Wheel is an element of indigenous daily life.
In the final paper, I focus on Cree culture in Canada. Cree features, including wâhkôtowin (kinship, relatedness), âtayôhkêwin (the spirit of storytelling), and pawâtamowin (dream vision) are used to explore playwright Shirley Cheechoo’s traumatic encounters, relief, and healing in the residential school.
These three papers have been presented in conferences, revised, and published in Fiction and Drama (The Star Quilter), Central Taiwan Journal of Humanities and Social Sciences (The Indolent Boys), and Chang Gung Journal of Humanities and Social Sciences (Path with No Moccasins). The first two papers were written in Chinese and have been translated into English for the publication of this monograph. New findings have been added, and all three papers have been proofread at least twice before publication. The writing styles requested by the three journals are also kept.
I had published a monograph, Going Native, analyzing indigenous cultures. Several years later, I remain on the same track; however, I now focus on the daily routines of indigenous cultures. Despite of the oppression from the government or cultural eradication from school, the indigenes never forget their cultures such as those mentioned in this monograph: the star quilting, medicine wheel and the Cree politics. It is owing to their internalizing their cultures in their daily life that these indigenous people can face all difficulties with perseverance.
