女性海洋文學作品之家的意義研究──以《一個臺灣女孩的航海日記》、《海邊》、《黑潮洶湧：關於人、海洋、鯨豚的故事》為探討對象

Research of the home meanings for women’s ocean literature：take “A Taiwanese girl’s marine diary ”、“ Shore”、 “ Kuroshio current”for example.

謝慧靜(Hui-Ching Hsieh)

指導教授 ： 王鈺婷

國立清華大學/人文社會學院/台灣文學研究所/碩士(2017年)

摘要

本論文以曾玲《一個臺灣女孩的航海日記》、蔡素芬《海邊》、張卉君《黑潮洶湧：關於人、海洋、鯨豚的故事》為探討對象。以女作家書寫海洋文學作品為主軸，輔以分析其作品中家的意義，呈現女作家海洋文學作品之書寫特色，並彰顯出女作家在海洋文學史中的位置。

　　第二章首先介紹曾玲在作品中所實踐她在大海生活的夢想，將探討曾玲在作品中裡視船艙為家存在之意義，接著論述曾玲與朋友保羅船長搭乘行動者號於海上生活的經驗，從家的概念解析船隻、海洋與曾玲之間的關係。本章最後也談到作者在離開陸上之家後，在海上重新建構一個家的過程，以此建構她與海洋的連結關係。
　　第三章呈現蔡素芬對家鄉海洋的情感，分析蔡素芬透過書寫作品返回童年的海邊場景，同時也顯示作者對於海村環境的關懷。在《海邊》中，作者塑造海村的男性角色離家再返家的過程後，才發現家鄉海洋對其的深刻影響；而作品中的海村女子在與海洋的互動過程中建立與家鄉、海洋的連結關係，而作者更是透過書寫過程中再回返海村。
　　第四章則是以黑潮海洋文教基金會執行長張卉君的《黑潮洶湧》為討論範疇。作者藉由基金會成員們訴說不同狀態的海洋環境，並以此表達出海洋在人們的破壞下逐漸失去生命力所感到的痛心。本章論述人們為了利益而豢養鯨豚、濫捕魚群所造成之海洋危機。最後筆者以家人的情感來形容成員們之間的情感，繼而探究黑潮基金會所提倡家園的環境關懷。
　　綜上所述，女作家們書寫的海洋文學作品各有其特色，其中曾玲的作品呈現出離開陸地上的家，又返回海洋的家，並將家的範圍從陸地擴及海洋。蔡素芬的創作在書寫海村環境的同時，也是是回返家的形式。張卉君則以基金會創立宗旨為書寫目標，提醒我們保護著海洋、環境的同時，也是在保護我們家園。

關鍵字

女性海洋文學 ； 一個臺灣女孩的航海日記 ； 海邊 ； 黑潮洶湧 ； 家

並列摘要

In order to reveal women writing features on ocean, the research is focusing on marine appearance based on the literature written by women, and describing meaning of home in these articles; taking “A Taiwanese girl’s marine diary”, “Shore” and “Kuroshio current” for example.
　　In chapter two, it’s going to express how Tseng, author of “A Taiwanese girl’s marine diary”, fulfilled her dream to live on ocean and took vessel as a home existing. Then we explore what the marine living experience was- the duration of Tseng taking ship, MOVER, with captain Paul- in order to explain the relationship among ship, ocean and author by concept of home. In the end of this chapter, we talk about how Tseng re-built a home after leaving her real home on land since author applied this method to link herself with ocean.
　　In chapter three, we'll show the affection inside Tsai, author of “Shore”, to marine hometown through her writing of scene in childhood and her care to environment of marine village. In “Shore”, Tsai shaped male roles to be those who would fully realize the profound influence from fishing hometown after leaving home and then returning back; on the other hand, author also demonstrated the connection and the interaction between female roles and fishing hometown.
　　In the chapter four, we discuss “Kuroshio current“ which was written by Chang, CEO of Kuroshio Ocean Education Foundation. By the tone of members from foundation, the book elaborated nowadays different situations of marine environment and showed depressed for human keeping destroying ocean. Chang continued to indicate that human raised whales and dolphins, and captured fish to benefit themselves but made extinction among marine creatures. Thus author advocated environmental care which could be the same with the family care among foundation members.
　　In a conclusion, these women literary works above have their own trait. Tseng expanded her home from land to ocean by leaving and returning; Tsai created a form to return back home by writing fishing environment; Chang wrote for the goal to establish a foundation, and also reminded us that it’s same meaning to preserve ocean and environment as protect our home.

並列關鍵字

women’s ocean literature ； A Taiwanese girl’s marine diary ； Shore ； Kuroshio current ； home

參考文獻

顏欣怡，〈從海岸線出發──論廖鴻基作品中的海陸意識與海洋教育理念〉（臺南：成功大學臺灣文學研究所碩士在職專班論文，2013）。

陳支平，〈從世界文化史的視野思考海洋文學的歷史意義〉，《海洋文化學刊》11期（2011.12）。

李東華，〈從海洋發展史的觀點看「海洋文化」的內涵〉，《海洋文化學刊》創刊號（2005.12）。

吳旻旻，〈「海／岸」觀點：論臺灣海洋散文的發展性與特質〉，《海洋文化學刊》創刊號（2005.12）。

林政華，〈「臺灣海洋文學」的成立及其作家作品〉，《明道通識論叢》，第三期（2007.09）。