蔣韻《櫟樹的囚徒》的母系家族史書寫

本文從「敘事」、「身體」與「死亡」三個面向分析《櫟樹的囚徒》的母系家族史書寫。在敘事面向上，全書設計了雙線交織的敘事時間、由女性所打造的敘事空間、離/返家女兒的敘事視角以及貫穿各代女性的「我」敘事聲音，展現出重建與反思女性歷史的企圖。在身體面向上，家族中的慈愛母親以地母式身體來孕育和守護著子女，撒手不管孩子的殘酷母親使女兒們踏上不斷尋找精神家園的漂泊之旅，並以漫遊者的身份發現並譜寫母系家族史。在死亡面向上，多位家族女性的自殺勾勒「生」與「死」的家族史代謝循環，並反映出時代價值體系的轉換軌跡。蔣韻的母系家族史書寫，是個人對母親故鄉歷史的溯源，撼動了男性中心的歷史神話，也為紅色時代的歷史空白賦予價值和意義。

關鍵字

蔣韻；櫟樹的囚徒；女性；母系家族史書寫

並列摘要

Our article describes ＂The Prisoners of Robur＂ in Mother's Family history from the view of ＂narration＂, ＂body＂ and ＂death＂ for three dimensions. In narration dimension, this book designs two interlines to describe narrative time, narrative space made by female, the narrative view of the daughter of leaving and backing to home and narrative voice with using ＂I＂ voice to penetrate female in each generation that show ambition of re-building and re-thinking female history. In body dimension, merciful mother act ＂The earth of Mother＂ to breed and protect their sons and daughters. Cruel mother make daughters seek spirit homeland with drift traveling and act ＂floating＂ role to find and write mother's family history. In death dimension, mess family's females commit suicide to delineate metabolism cycle in family history to describe ＂Birth＂ and ＂Death＂. It was also reflected transform footprints in generation value system. Jiang-Yun's mother families describe the personal who find the source for mother's homeland history. It vibrates the myth in male's heart and give the value and meaning in ＂Red＂ generation in Jiang-Yun's mother family history of narrative.