Sense of place and collective memories in Leslie Marmon Silko's "Ceremony": a case study of Tayo's journey

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Title:	Sense of place and collective memories in Leslie Marmon Silko's "Ceremony": a case study of Tayo's journey
Other Titles:	席爾珂《儀式》中的地方感與集體記憶 : 以泰由的旅程為例
Authors:	吳唯邦;Wu, Wei-bon
Contributors:	淡江大學英文學系碩士班蔡振興;Tsai, Chen-hsing
Keywords:	流變;雜揉;集體記憶;多樣性;地下根莖;故事;變移;becoming;hybriditity;collective memories;multiplicity;rhizome;storie;shifting
Date:	2007
Issue Date:	2010-01-10 23:16:34 (UTC+8)
Abstract:	本文延續席爾珂小說《儀式》的相關研究，重心為書中的地方感並涉及人與土地間的交織關係。文中結合了得勒茲所提出的多樣性、地下根莖、及生成等概念，用意為探討大地的能量循環及活力。第一章討論泰由在自我文化定位上的交戰，在尋找遭竊牛群的過程中，他也漸漸發覺自己為族群文化中的一環。旅途中，泰由的地方感不斷的擴展、變移，結合了地方與口傳的故事還有發生在他身上的故事，泰由的重新定位讓自己回歸到拉古納文化的母體之中。第二章說明泰由藉由一連串的心靈轉變，讓自己跟途經的土地產生聯繫。將傳統故事嵌入當下的情境，泰由對故事中的蜂鳥跟跟蠅產生移情作用，開啟了他的心靈旅程，進入故事中的世界。泰由的心靈轉變讓他更貼近土地，通往多方連結的地下根莖。第三章進一步解釋泰由如何建立地方感。將外在的地方觀感吸收轉化為內在的心理地圖，泰由的地方感為多重揉雜，融合了故事及形成土地的元素、昆蟲、動植物等，綜合而成的故事網絡有如人們交織的地方感。分享故事的同時，人也在分享著地方感，故事在人們的集體記憶中成長蔓延，說故事的同時也招回了活在過去的人，他們也在故事中重生。泰由的地方感可視為由層層故事重疊的深層地圖，泰由的地方感結合了親身的地方經驗跟埋藏在土地中的傳統故事，他的故事也跟先前的故事產生連結，從這個觀點來看，《儀式》中的地方感並非全然創新，而是傳統的延續及變異。 This thesis sets out as a continuance of the preceding studies on Leslie Marmon Silko’s Ceremony which centers on the issue of sense of place, and the interrelationship between man and the landscape. The study combines with Gilles Deleuze’s concepts such as multiplicity, rhizome, and becoming to show the dynamism or circulating energies within the big whole. The first chapter locates Tayo’s identity in the culture he is striving to fit in. In his journey of searching for the lost cattle of mixed breed, he also finds himself as part of a bigger family. While traveling through the places, Tayo’s sense of place widens and shifts in that he combines the places with the traditional stories, stories of his own, and the places. Tayo rediscovers his identity by connecting himself with the matrix of the Laguna Pueblo culture and the land. Chapter Two explains how Tayo is merged with the places by embarking on a series of spiritual metamorphoses. By inserting traditional stories into the contemporary events, Tayo empathizes with the humming bird and fly in the stories. In a sense, Tayo transfers himself into other forms of being so as to get closer to the place via multiple entryways. Chapter Three further elucidates Tayo’s construction of a sense of place. He assimilates the external landscape and digests them to organize an ever expanding internal landscape. Tayo’s sense of place is a multiple hybriditity that involves not just the sand, stone, animals, insects but the stories about them. The stories are overlapping just as a sense of place for most people is overlapping. We share a sense of place by sharing stories. The stories are multiplying in the collective memories of the people; when they are telling a story, they conjure up the people of the past and again they are alive when their stories are being told. We can see Tayo’s sense of place as a layered map which helps him in reweaving connections with the places and their stories that have been there for ages. Therefore, we may conclude that the expansion of a sense of place in this novel is not a creation, but a continuation and transition of the tradition.
Appears in Collections:	[Graduate Institute & Department of English] Thesis

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