| Abstract: | 露易絲‧艾芮綺的《蹤跡》，藉由兩個交替的敘述者納納樸希和波林陳述邪惡在殖民主義之下（白人與美國印地安人之間）的存在情境。本論文試著追尋批評家保羅、瑞丹，威廉‧韓恩，威廉‧杜提，琳達‧威斯特，以及傑偌‧維森諾等人對於狡黠者所下的定義進行結構性的分析，尤其是那些造成環境、社會以及文化崩解之要素。第一章處理狡黠者人物納納樸希及其致力於維持家族的完整與部落的團結；此外，本章也歸納狡黠者在書中所表現出的特徵：詼諧、語言的雙重性、能行使暴力、欺瞞以及殘忍之行為。第二章深入探討波林這位企圖毀滅契帕瓦文化以及讓契帕瓦族失去土地的主要推手。第三章則分析芙樂的角色，指出芙樂為一個女性性欲與神秘的象徵。她貫穿艾芮綺通篇的契帕瓦家族史詩，而且她也是古老契帕瓦生活之實踐者；伊萊‧卡西波想追求她，但謠言傳說她又與馬奇馬尼托湖妖有著性關係，這也使得她被描述為能從妖精身上獲得某些魔法與性能力。芙樂被強暴、她的魔法能力、形體上的改變以及她對於土地的保衛，也將在此章一一被檢視。
Louise Erdrich’s Tracks records the conditions of evil under colonialism (the Whites vs. Native Americans) through two alternating narrators: Nanapush and Pauline. In this thesis, I try to trace the meanings of trickster offered by such critics as Paul Radin, William J. Hynes, William G. Doty, Rinda West, and Gerald Vizenor so that a structural analysis of evil can be analyzed, especially the conditions that create environmental, social, and cultural disruptions.
In Chapter One, I deal with the trickster figure Nanapush whose purpose is to maintain the family unit and tribal solidarity. In addition, I also point out that Nanapush displays several trickster traits in Tracks: he is comic and his discourse is double-voiced, capable of “violence, deceptions, and cruelties.” In Chapter Two, Pauline will be treated in depth because it is she who is the prime mover of the destruction of the Chippewan culture and of the loss of land. In Chapter Three, I focus my study on Fleur. As a symbol of female sexuality and mystique throughout Erdrich’s Chippewa saga, Fleur draws the great practitioner of old Chippewa ways, Eli Kashpaw, to court her, and rumor has it that she has had sexual relations with the water spirit Misshepeshu and that she retains some form of magical and sexual power from the spirits. In this chapter, Fleur’s rape, her magical powers, shape-shifting, and her defending for the land will be discussed. |
