林芳玫Fang-mei Lin謝秀惠Hsiu-hui Hsieh2019-08-292011-02-202019-08-292010http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0095262111%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/93195全球約百分之八十的人口曾受到帝國殖民統治，直到二十一世紀的現在，人們仍然活在曾被殖民的陰影下，無法完全由這個夢魘中脫困。即使帝國中心的殖民者早已遠離，有些原處帝國邊緣的殖民地卻依舊受到被殖民經驗的影響，無法建立屬於自己的國家，也無法被國際社會所認同。香港與台灣兩島嶼就是最好的後殖民例證。這兩個社會處於英國、中國、日本帝國版圖的邊緣，其多重邊緣的位置也是本論文所欲探討的對象。 施叔青是國家文藝獎12屆以來首位得獎的女性作家。她以自身在島嶼之間居住、遷移與旅行的實際經驗，以及她充分掌握歷史敍述的能力，以虛構故事呈現真實歷史的手法，試圖為英國統治下的香港和清朝與日本統治下的台灣立傳，並建構其後殖民島嶼圖像。 本論文以其大河小說《香港三部曲》與《台灣三部曲》中的前兩部曲《行過洛津》、《風前塵埃》為探討對象，試圖呈現出施叔青面對後殖民論述的思考脈絡，來檢視她如何拆解、顛覆與改寫由男性社會文化體制下所衍生出來的種種規律與典範，並且企圖挑戰傳統的父權宰制，讓久經壓抑的底層聲音、曖昧混雜的自我認同問題與無意識的深層慾望逐一被揭開。 本論文擬將事件本身置放於當時其所處的政治、社會、文化與歷史情境中，以此來探討社會底層的庶民與被雙重宰制的婦女在事件發生當時之所以被噤聲處境是如何造成的？在霸權文化的宰制下，這些身處帝國邊緣的社會底層庶民與女性，在身體和精神受到雙重的創傷與異化的情形下，他們又是如何回應自己的處境和情感？About 80 percent of the world's population had been under the domination of colonialism and imperialism . Until now in the 21st century, they are still living in the shadow of colonialism and can’t escape from this nightmare. Even the colonial era had come and gone, some islands on the edge of empires still can’t establish their own independent nations, and can’t be recognized by the international society. Hong Kong and Taiwan are the two best postcolonial examples. These two societies are also situated on the margins of the British, Chinese, and Japanese empires, and their marginal positions are also objects of analysis in this study. Shi Shuqing is winner of the National Award for Arts 2008. She is the first female winner of this award for the past 12 years. With her own experience of living on the two islands of Hong Kong and Taiwan, and her full ability to master fictional narratives texts out of real historical events, she attempts to construct postcolonial images for both islands under the colonial rules. This paper analyses five pieces of her works: the complete works of Hong Kong Trilogy and the first two works from Taiwan Trilogy—Passing Through Lo-Jin and Dust in the Wind. I seek to discuss her thoughts toward postcolonial discourse and to examine how she deconstructs, overthrows and rewrites disciplines and canons which are established under male patriarchal domination. I also examine the ways she releases the subaltern’s long-oppressed voice in order to expose the ambiguous and confused self-identitiy problems and desires from deep unconsciousness. This paper explores events in the novels by placing them under political, social, cultural and historial situations of their own time, and also attempts to find out why is it that the subaltern underclass and women cannot speak for their own? Under the domination of cultural hegemony, how do these subaltern underclass and women on the edges of empires respond to their own feelings and situations, under the circumstances that they have to deal with both physical and mental trauma and self-alienation?施叔青帝國邊緣後殖民認同書寫Shi Shuqingon the margin of empirepostcolonial identity writing