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系統識別號 U0026-1507201016473000
論文名稱(中文) 安妮塔‧迪賽的《白日攸光》中在地他者的再現
論文名稱(英文) Representation of Nativist Others in Anita Desai’s Clear Light of Day
校院名稱 成功大學
系所名稱(中) 外國語文學系碩博士班
系所名稱(英) Department of Foreign Languages & Literature
學年度 98
學期 2
出版年 99
研究生(中文) 何瑞雲
研究生(英文) Jui-Yun Ho
學號 K2695113
學位類別 碩士
語文別 英文
論文頁數 74頁
口試委員 口試委員-張錦忠
口試委員-李翠玉
指導教授-張淑麗
中文關鍵字 後殖民  現代主義  印度分離運動  後殖民印度社會 
英文關鍵字 postcolonial  modernism  Partition  postcolonial India 
學科別分類
中文摘要 在印度後殖民的文學作品中,因為1947年印度分離運動所帶來的社會衝擊及後續影響常是既無法忽略卻也無法正視的棘手議題。即便大部分的印度後殖民作家以充滿政治性爭議與衝突的國族主義作為自己作品探討的主軸,安妮塔‧迪賽,這位素以現代主義為寫作特色的女性印度作家,卻選擇帶領讀者從另個角度─她筆下腳色對於生活的掙扎與衝突的心理─來探索、接觸自己的國家。在《白日攸光》中,讀者可以發現她對於舊德里的轉變及當地民眾如何面對後殖民時期的變遷有著細膩的觀察。不跟隨大部分印度後殖民作家的腳步,迪賽用個人的歷史故事、而非國家論述,來呈現印度。也因為如此,她提供讀者另一種認識、進而了解後殖民印度社會的可能。除此之外,故事中隨時瀰漫著的鄉愁與哀歌似的氛圍也十分引人注目。雖然小說是以中產階級達司一家的崩解以及最後家人間暫時性的和解為故事發展主軸,由迪賽的現代主義寫作技巧成功呈現的美麗風景與角色間凝結的情緒張力也是讀者在閱讀故事時不可忽略的重要特色。因此,在我的論文中,我認為藉由小心、細膩地將西方現代主義的文學技巧與在後殖民時代不斷迅速變化的印度文化緊密結合,迪賽描繪出在地印度民眾複雜的心理並進一步呈現了不同的後殖民印度。從探討迪賽在《白日攸光》中所使用的語言及型式開始,並進而延伸至她對於達司姊妹糾結的情感表現與其他次要、較無法融入社會邊緣人的觀察和再現,我將迪賽視為不刻意強調政治,卻政治批判力道十足的後殖民作家。藉由其精巧的現代寫作技巧,她在《白日攸光》所形塑的是個鮮為外人所知、充滿詩意及帶有些許憂鬱美感的後殖民印度社會。
英文摘要 In postcolonial Indian writings, the shock and aftermath brought by the 1947 Partition of the Indian subcontinent is very difficult for people either to confront or to neglect. Whereas most of the postcolonial Indian writers engage with the questions of the nation-state, as they enter into an explicit dialogues with the political disputes and conflicts in both colonial and postcolonial Indian society, Anita Desai, a female Indian writer known for her modernist writing style, chooses to lead readers to approach her country from a different angle—the struggles for life of Indians, mentally displaced by the 1947 partition, and the conflicted mentality of her characters. In Clear Light of Day, readers can notice her detailed, careful observations about her hometown Old Delhi and how the native Indians face the social transformations in the postcolonial era. By representing India through individual histories rather than national narratives, she provides an alternative entrance for us to get closer to postcolonial India and its people. What’s more, the elegiac and nostalgic atmosphere throughout the whole novel also draws readers’ attention to the fleeting reality of the twentieth-century Indian society. Although the story centers on the collapse of the middle-class Das family around 1947 and their later temporary reconciliation, it is almost impossible to ignore the beautiful descriptions and the congealed tensions created by Desai’s appropriation of Western modernism. Accordingly, in my thesis, I assert that Desai portrays the complicated inner feelings of the native people and delineates a different postcolonial India through her sophisticated combination of modernism and the rapidly changing Indian cultures. Starting from exploring the language and the form Desai adopts to write the story and then turning my focus to her representations of the entangled sisterhood and the social misfits either inside or around the Das family, I read Desai as a postcolonial writer that, with her alternative modernist techniques, registers in Clear Light of Day a poetic and melancholic social reality that is seldom known to readers outside India.
論文目次 Introduction---------------------------------------------1

Chapter One Modernism with a Postcolonial Accent---------10

Chapter Two Sisterhood in Postcolonial India-------------32

Chapter Three Social Misfits in Postcolonial India ------50

Conclusion----------------------------------------------69

Works Cited---------------------------------------------73
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