美國原民女性屬性認同四部曲：以安妮塔•阿其其塔〈鬼舞〉中的郝緹為例

To Strive, to Seek, to Find and Not to Yield: Identity Quest in Annette Arkeketa's "Ghost Dance"

羅宜柔(Yi-Jou Lo)

《立德學報》 5卷1期 (2007/12) Pp. 63-76

https://doi.org/10.7080/JLU.200712.0063

摘要

經歷一九六○年的「紅權運動」(the Red Power Movement)後，美國原住民書寫開始在美國本土，甚至世界嶄露頭角。誠如美國原民向來爲母系社會(matriarchy)，因而原民論述也加入女性主義顯學之潮流。遭受百年壓抑下，原民論述中常見屬性追尋與認同，不論是席爾珂(Leslie Marmon Silko, 1977)的《儀式》或是鄂翠曲(Louise Erdrich, 1994)的《愛情靈藥》等，均呈現對屬性的重視。因此，米喜蘇娃(Devon Abbott Mihesuah)在其著作《美國女原住民：去殖民化，授權，與行動主義》(Indigenous American Women: Decolonization, Empowerment, Activism, 2003)中，引用克羅斯(William E. Cross, 1971)有關黑人屬性認同之論述，進而衍生美國原民屬性認同四部曲之觀念。本論文即援用米喜蘇娃原民論述，討論克里特族(Creek)安妮塔•何其其塔(Annette Arkeketa)的〈鬼舞〉(Ghost Dance)一劇，攸關美國原民屬性認同之過程與歷練。〈鬼舞〉談論女主角郝緹(Hokti)從酗酒，送醫，與酒靈抗爭，甦醒，並進而開始追尋原民文化，且立志爲美國原民奮鬥之過程；其歷程恰符合米喜蘇娃從前衝擊期(pre-encounter)、面臨衝擊(encounter)、浸禮（immersion, emersion）到內化(internalization)的四部曲程序。本篇論文將透過米喜蘇娃理論與阿其其塔劇本文本的相互關照，解析原民論述，尤其是女性原民的主體建構，並進而形塑阿其其塔筆下的原民屬性認同與歷程。

關鍵字

原民屬性 ； 前衝擊期 ； 面臨衝擊 ； 浸禮 ； 內化

並列摘要

Drama, according to Jaye T. Darby, ”has always been an integral part of Native peoples' lives throughout history.” Despite the surging numbers of Native poets and novelists in American Literature, Native drama is still ignored and catches only little attention. Therefore, this essay examines ”Ghost Dance,” a play by Annette Arkeketa (Otoe-Missouria/Muscogee) in terms of the theory modified by a Native critic, Devon Abbott Mihesuah (Oklahoma Choctaw) in her indigenous American women: Decolonization, Empowerment, Activism to explore the four identity-quest phases of Hokti as an American Indian woman. From pre-encounter, encounter, immersion (emersion) to internalization, this essay would mainly interpret the construction of Hokti's subjectivity and the formation of Native identification in ”Ghost Dance” with the expectation of more studies/research on Native plays.

並列關鍵字

Native Identity ； Pre-encounter ； Encounter ； Immersion/Emersion ； Internalization