2004-08-012024-05-18https://scholars.lib.ntu.edu.tw/handle/123456789/709841摘要： 創傷與奮起：九○年代以來的台灣女性小說 台灣女性小說自九○年代便展現出不同的形貌，像李昂、平路、朱天心、朱天文的國族寓言，李昂、邱妙津、洪凌、成英姝、陳雪的身體書寫，朱天文、朱天心、施叔青對陰性文化的探索，均超出於前期。這一方面乃因前期的女性文學已累積許多成果，另方面則是因政治解嚴和女性主義運動、同志運動蓬勃發展，使得許多禁忌除魅了，而居於弱勢的女性之議題也得以被更細緻地探討。本計劃三年為期，將援用女性主義理論、女同志理論、文化理論分別研究九○年代以來台灣女性小說所出現的三個主題：(1)女同性戀創傷；(2)女性創傷與女性情誼；(3)女性與通俗文化，並將之放置於兩個脈絡：一是戰後以來台灣女性文化，另一則是戰後以來有關女性創傷經驗的小說。從這兩個不同脈絡中，更可比較九○年代以來台灣女性小說與前期小說的異同，並突顯這三個主題代表了台灣女性文化的兩個新貌：(一)對女性創傷經驗的再思，(二)女性從邊緣出發提出另類想像或視角。 第三年計劃將處理九○年代以來的台灣女性小說中的女性與通俗文化。文本將包括朱天文〈尼羅河女兒〉、〈帶我去吧！月光〉、〈紅玫瑰呼叫你〉、〈柴師父〉、〈世紀末的華<br> Abstract: Trauma and Regeneration: Taiwan Women’s Fiction Since 1990 In the light of feminist and lesbian theories and cultural theories, this three-year project seeks to explore respectively three themes in Taiwan women’s fiction since 1990: (1) lesbians’ trauma; (2) women’s trauma and female bonding; (3) women and popular culture. I shall put these three themes into two contexts: that of Taiwan women’s culture since 1945, and that of Taiwan women’s fiction about women’s trauma since 1945. In so doing, I shall be able to compare the differences and similarities between Taiwan women’s fiction since 1990 and that prior to 1990. Moreover, this will enable me to underline how the three themes represent two new aspects of Taiwan women’s culture: (A) a rethinking on women’s traumatic experience; (B) women’s alternative imagination or perspective from the margin of the dominant culture. The third year will dwell on the theme of women and popular culture in Taiwan women’s fiction since 1990. The texts I shall deal with include Tien-wen Chu’s “Daughter of the Nile,” “Take Me Away, Moonlight!” “Red Rose Calling You,” “Master Chai,” “Fin-de-Siecle Splendor,” and Notes from a Desolate Man, Ang Li’s The Labyrinthine Garden, Lu Ping’s “The Engagement,” and Shu-ching Shi’s The Make-Up. Popular culture ranges from romance fiction, cartoon, pop songs, advertisement, fashion, to movies. Andreas Huyssen argues that popular culture is often seen as feminine and equated with women, since in the West male writers as cultural inheritors dismiss female writers’ works as popular trash. Popular culture has been influential in Taiwan, and has become dominant culture in the 1990s. This may stir up interest in the relationship between women and popular culture in serious women’s writing. The issues are: do women project themselves onto popular culture, in order to have imaginary relationship with the real? Does popular culture enable women to form narcissistic mirror-image so as to gain self-confidence and strength? Or does popular culture contribute to women’s self-indulgence, widen the gap between fantasy and reality, and so make women feel more inferior and pain? Or does popular culture have complicated content, so that its influence on women is diverse and complex?女性創傷女性情誼通俗文化記憶九○年代以來台灣小說女性小說性別政治書寫策略女性主義文學與文化研究women's traumafemale bondingpopular culturememoryTaiwan fiction since 1990women's fictiongender politicswriting strategiesfeminist literary and cultural studies