九〇年代崛起台灣女性作家的創傷書寫——以鍾文音、郝譽翔和陳雪為例

Abstract

隨著1987年的政治解嚴，20世紀九〇年代的台灣文壇呈現出令人眼前一亮的繁茂景象。先前被迫噤聲的歷史真相得以重見天日，獲得發聲的機會，其他各式各樣的聲音不絕於耳。在過去作為被忽視的、弱勢性別的女性也透過在這段時間崛起的女性作家和隨即蓬勃發展的女性文學書寫開始重新詮釋歷史，敘說她們的生命故事。 台灣文學裡早出現過「女性創傷書寫」，但是九〇年代大行其道的作品潮更有意圖地突出獨特美學和女性意識，或如學者劉亮雅所謂的「與國族無關、但在以往也是令人難以啟齒的女性創傷記憶」。鍾文音、郝譽翔和陳雪是三位崛起於九〇年代的五年級女性作家，她們不但在同一個時代經歷童年和成長歲月，在她們富有自傳性色彩的小說創作中相當突出的題材便是有關童年創傷記憶的。三人筆下的「家」偏離了一般認為家是安全、溫馨的避風港的印象，所勾勒出的是一個個令人恐懼、憂鬱的黑暗所在。作為傷痛的發源地的家庭，其中隱藏了什麼樣的創傷故事呢？在鬼影幢幢的台北左岸、老舊公寓或吵雜的夜市裡，陰魂不散的傷痛記憶，又會以哪些有形和無形的形態和怎樣的方式糾纏受創者呢？ 有關創傷經驗的記憶經常是雜亂無序的，從「敘事治療」的角度來看，書寫是否是療愈創傷的可行策略？本論文探討的，便是這三位女性作家如何藉由虛構和紀實的交錯、利用感官記憶與細節建構女性眼中的空間感以及對於出走/回歸的書寫，力求達到填補空白、重構記憶的目的，朝療癒創傷的自我救贖邁進。

Following the lifting of the Martial Law in 1987, the Taiwanese literary scene underwent a flourishing period in the Nineties. Many voices of history once silenced by political suppression found outlets to be heard. Previously ignored or snubbed, women who were deemed the weaker sex, are now able to present their new interpretations of history through the emergence of many prolific female writers and their feministic literature. As compared to the grand historical narrative once considered a strong tradition, petite narrative revolving around the individual has attracted fair attention. “Feminist trauma narrative” is no stranger to Taiwan literature, but the works belonging to this genre in the Nineties emphasized more on aesthetics and feminist awareness, particularly “personal traumatic memories that were difficult to articulate in the past that had nothing to do with national issues”. Wen-in Chung, Yu-hsiang Hao and Hsueh Chen -- three female writers born in the Seventies and who emerged as writers in the Nineties, did not carry burdens of national trauma upon themselves and were thus able to focus on the writing of personal trauma. Having experienced their growing up years in the same era, all three writers had written extensively on their childhoods in their autobiographical novels. The home, traditionally perceived as a warm and safe haven, was depicted as a dark and depressive environment which struck fear in the hearts of the protagonists. Set up as the source of trauma and pain, what dark secrets loomed within? How did the visible and invisible forms of trauma plague the protagonists? Traumatic memories commonly lack system and order, from the perspective of narrative therapy; can writing be an effective treatment strategy? This thesis sets out to investigate how the three aforementioned female writers weave their ways between factual and fictional aspects of their writing while employing sensory and spatial details in the reconstruction of space and writing about leaving/returning, with the aim to fill in the gaps in traumatic memory lapses while the healing of personal trauma.