| 摘要: | 本文以台灣女同志文學代表作家——邱妙津的女同志長篇文本為論述主軸，《鱷魚手記》所使用的半自傳書寫及《蒙馬特遺書》的書信／遺書，這些作品的共通點在於使用第一人稱來書寫，換言之，皆屬「私密的」文體形式。然不論是使用書信、日記或是獨白，都可說是一種告白體的書寫方式，而這樣的敘事模式所造成的影響，筆者以為，由於邱妙津的文字感染力及情節張力，使讀者在「被告白」的過程中，不知不覺中被邀請；從這兩部作品可以看出，敘事者皆從第一人稱的角度開展故事情節，看似只是單方面與讀者訴說，實則主動邀請讀者進入文本參與敘事者的「告白」。筆者以為，比起真實紀錄的自傳，作為告白體的小說反而讓文本更有發展空間，故將針對文本的敘事模式及策略做分析。
除此之外，邱妙津作品中的「我」（敘事者）也貫穿了許多議題，如認同及存在的困惑，以及從外在至內在的性／性別的意象符碼等，故筆者以為，邱妙津的作品所表現的即是「我」成為「我」的拼貼過程。而文本中第一人稱——「我」所帶出的告白文體及其互文性關聯，實為值得研究的議題。準此，本文將試析論邱妙津的兩篇長篇小說《鱷魚手記》及《蒙馬特遺書》，其中日記／書信等書寫手法所呈現的獨白／告白及美學轉化，並嘗試深化研究作品中的敘述者「我」之「告白」，觀察其中的階段性差異、變化，以期發掘作品中其他可能意涵。
The reseach topic of this paper is based on Taiwanese lesbian literature writer Qiu Miao-Jin’s lesbian fiction for the main shaft. The “The Crocodile Note” used Semi-autobiographical writing and “Last Words from Montmartre” was writing as letter. However, these works in common was that using the first-person point to writing. In other words, They are "private" style, but whether it''s using letters, diaries or monologue, which is a way to tell as a confession writing, and the effects of the narration mode. I thought that due to the high Miao Jin’s words appeal and plot tension, make readers in the process of confession were imperceptibly invited and resonated.
After observation of research, I believed that the works of Qiu Miao-Jin’s "I" (the protagonist in the works) also runs through all the issues, there is identity and existence of confusion, prosperous, there are also concern for society, such as politics, and the sex/gender image codes. Therefore, this article will take “The Crocodile Note” and “Last Words from Montmartre” to discussion how they using the diary/letter writing technique to present in monologue/confessions and the aesthetic transformation. The other will try to deepen the research works of the narrator "I" in "confessions", observe the periodic difference, change, in order to explore other possible meaning in the work. |
