進入二十一世紀初始,台灣的女性作家們帶動了國族寓言與歷史記憶的書寫熱潮,女性小說家們藉由國族議題切入,企圖翻轉傳統上男性單一主流的歷史論述,以標誌女性的歷史詮釋觀點。施叔青以公認成熟的技巧,寫出「香港三部曲」中近代香港發展歷程,又續以「台灣三部曲」為生身土地留下史詩般的敘述。「台灣三部曲」中她設計了三組身處社會弱勢底層的「陰性」角色,作為歷史小說發聲的主體,她選擇由邊緣地域的空間展開歷史的敘述;時間線則橫跨了晚清、日本殖民時期、戰後,以至二二八事變,實踐了以邊緣直指中央、以小搏大的記史策略。「台灣三部曲」三部小說成一系統,奠定了施叔青在台灣文學史上大河小說的里程碑,成為她突破早期現代化、女性文學等既定框架的自證之作。 本文著眼於台灣三部曲各小說文本內的主要「陰性」角色:《行過洛津》中的男身女旦角──許情、《風前塵埃》中灣生女性──橫山月姬及其後兩代的殖民者女性,以及《三世人》中的養女──王掌珠,本文針對這些角色的人物形象敘述、心理狀態變化、社會關係網絡等敘述表現進行精讀與分析,探討三組角色的形象功能與文本寓意,析論各組陰性角色的形象與策略,探究「她們」如何代言施叔青女性意識下的台灣歷史景貌。小說家藉由「陰性」角色們在邊緣場域中見證台灣近代史的重要歷程,呈現了主流以外的歷史視角,借喻台灣在近代變遷中的處境,提供了多元複合的歷史觀照。
Utilizing the leading female chracters in Shih Shu-Ching’s Taiwan Trilogy who are Xu Qing in Xin Guo Luo Jing, Yokoyama-Tsukihime in Feng Qian Chen Ai, and Wang Zhang-Zhu in San Shi Ren, this thesis aims at exploring and analyzing the above charaters’ images, psychological changes and social relations. In order to understand how these characters express themselves from Shi Shu-Ching’s ideas of feminism, the functions and the strategies used to decribe the three characters will then be explored in this thesis. Known as a skillful and mature Taiwanese writer, Shih Shu-Ching finished an epic Taiwan Trilogy after she published HongKong Trilogy. As Shih’s designing main body of this historical novel, the similar chracristics of the three parts are given as powerless minorities; moreover, the novel begins with Taiwan’s minor historical bacdground from the periods of late Ching Dynasty to Japanese colonization and finally to 228 incident. By reviewing how these female characters present themselves and how they experience in Taiwanese modern history, novelists perform another historical view points different from what main stream performs. Thus, the exploration of the changing Taiwan status throughout modern history porvides a multiple historical perspective.