女性長篇小說的政治暴力創傷敘事（1989~2016）

本文以 1989 年為始，回溯自該年以來，臺灣女性長篇小說敘寫政治暴力創傷的現象。伴隨解嚴後歷史檔案陸續出土，臺灣女性長篇小說敘事因而在持續與變動的歷史陳述與檔案之間斡旋並回應之，在文學史上具有深刻意義。為進一步強調女性視角在歷史書寫中的重要性，本文以西蘇（Hélène Cixous）的「陰性書寫」（écriture féminine）為理論視角，借助卡洛絲（Cathy Caruth）的創傷（Truama）理論，輔以創傷見證、修復等周邊議題的討論，探究這批女性長篇小說共有的書寫現象與特質：一，在臺灣女性長篇小說裡，以校園、街道、市場、海港、家等等多種空間作為敘寫對象，形構、併陳威權體制下殊異的空間意象與情境。二，女性創作者著重不同創傷主體的生命經驗及其差異的政治性（如性別差、世代差等），從中開展創傷在世代內或跨世代之間連結、繼承的議題，同時敘寫不同世代主體如何發展出救贖、代償、防衛等因應機制，以此強調受創主體的多樣面貌。三，伴隨威權體制的鬆動，在她們筆下，主體的創傷見證與修復創傷是關鍵的議題。在文本裡，主體通過第三者、同世代、跨世代的見證來整合經驗，而這種經驗的整合──經驗的文本化──就是一種歷史創傷的敘事，也提供了從有待轉型正義的歷史與社會中修復的可能性。以此總結，臺灣女性長篇小說的政治暴力創傷敘事，除了呼應了社會環境的演變，其書寫更展現了女性創作者獨有的書寫風格，強調差異的政治與個別經驗的特殊性，因而在文學史上貢獻了一種更具複雜、具張力的政治暴力創傷敘事。

關鍵字

政治暴力創傷敘事；陰性書寫；空間語境；創傷遞延；創傷見證

並列摘要

This thesis analyzes the representations of political violence and trauma in novels by female writers since 1989. The year 1989 marks the publication of Chen Ye’s River of Soil, the first novel in by female writers in Taiwan history that discovers such theme. Fictional narratives of Taiwan history oscillate between and respond to ever-growing archives and oral histories that appears after the lift of Martial Law, which marks its fundamental importance in Taiwan literary history. In order to further emphasize the female perspective, this thesis takes its major theoretical cues from Hélène Cixous’ écriture feminine and Cathy Caruth’s famous account of “Unclaimed experiences”, accompanied by various different theories of testimony and trauma recovery. It aims to elucidate some major characteristics that these historical novels by female writers all share: first, spatial representations—including those of campus, streets, cafés, markets, harbors and even homes—suggest the ordinariness of violence and discipline under totalitarian governance. Second, female writers put much emphasis on the politics of difference (gender, generation, familial positions) associated with different injured subjects, which develop into narratives of intra- and intergenerational relations and connections—inheritance—of traumatic experiences. By so doing these writers develop different traumatic subjects’ different strategies to face traumas, so as to show the complexity of traumatic experiences. Finally, as the age of totalitarian governance fades away, more important for recent writings is the archiving and reparation of traumatic experiences and injured subjects. The traumatic subject becomes the archiving subject, collecting the witness and experiences of political violence from others of same or different generations, through which the injured subjects also repair their traumatic experiences. Such archiving experiences itself has a twisted history—and is itself a reparation from the unjust history. In conclusion, narrative of political violence in Taiwan historical novels by female writers not only respond to ever-changing political milieu and archival condition, they also develop distinct, female narrative strategies that emphasizes the politics of difference and the singularity of traumatic experiences. These novels contribute to a more nuanced and complex account of political violence and traumatic experiences.