李翊雲《親愛的朋友，我從我的生命寫進你的生命》之中的碎片記憶與自我呈現

Abstract

本論文研究了李翊云的《親愛的朋友，我從我的生命寫進你的生命》（以下簡稱《親愛的朋友》），並圍繞以下問題進行探討：作家如何表達他們的負面情感和艱難時期？作家的敘述如何影響讀者，並與讀者產生連繫？本文分析了李翊云的回憶錄，並探討她如何描繪自己過去的創傷、脆弱和抑鬱情感 (depression)。第一部分「互文性：在他人的生命中看見自己」聚焦於互文性 (intertextuality) 這一術語，探討李翊雲如何廣泛引用其他作家的作品作為其自我呈現的一部分。第二部分「記憶碎片，創傷敘事」，我引伸了創傷敘述理論 (trauma narrative) 以進一步分析李翊雲在《親愛的朋友》中呈現的「碎片化」敘事。在第三部分「痛苦情感與抑鬱：脆弱的主體」中，我更深入地研究了李翊雲的「脆弱性」 (vulnerabilities)，並結合「脆弱的主體」 (the vulnerable subject) 這一概念，提出對該術語不同的理解角度。第四部分「抑鬱：一種公共情感：記憶是一場情節劇」，我以李翊雲對情節劇這一詞語的觀點為基礎，探討她對記憶和負面情緒（如抑鬱）的表達。我還根據「公共情感」(a public feeling) 這一概念，探討抑鬱可能帶來的積極影響。第五部分「親愛的朋友，文類體裁和社會行動」強調將文類體裁分析視為社會行動 (genre as social action) 的觀點。透過展示《親愛的朋友》可能激發的社會行動，我總結以閱讀和寫作為連繫人們的的關鍵循環，並為未來提供可能的研究方向。This thesis studies Yi Yun Li’s Dear Friend, from My Life I Write to You in Your Life (henceforth abbreviated as Dear Friend) with the following questions in mind: How do writers represent their negative feelings and hard times? How do writers’ narratives affect or connect to readers? My analysis examines Li’s memoir and discusses how she depicts her past wounds, vulnerabilities and feelings of depression. Section one, “Intertextuality: Seeing Yourself in Others’ Lives,” focuses on the term intertextuality and then examines Li’s extensive use of other writers’ works as part of her self-representation. In section two, “Shards of Memory, Trauma Narrative,” I explore debates about trauma narrative to further analyze the “fragmented” narrative Li presents in Dear Friend. In section three, “Emotional Pain and Depression: The Vulnerable Subject,” I delve deeper into Li’s vulnerabilities and draw on the key concept of “the vulnerable subject” to suggest a different perspective on understanding this term. In section four, “Depression: A Public Feeling: Memory is a Melodrama,” I draw on Li’s perspective on the word melodrama to investigate her representation of memories and negative emotions, such as depression. I also explore the positive impact of depression based on the key concept of “the public feeling.” Section five, “Dear Friend, Genre, and Social Action,” foregrounds the idea of viewing the genre as social action. By presenting the possible social action that Dear Friend may inspire, I conclude with the crucial cycle of reading and writing that connects people and provides possible direction for future coping and research.