阿奎達斯《所有的血》在後殖民接觸場域中的土地觀

Abstract

本論文提出阿奎達斯在其小說《所有的血》中，呈現了一個秘魯後殖民社會中文化間對立的「接觸場域」。本論文採用Mary Louise Pratt的後殖民理論及安地斯宇宙觀，來閱讀小說在接觸場域中關於不同土地觀的論述，分析在這社會空間中不同觀念的人如何改變，或者抗拒改變，其面對土地之態度及後果。阿奎達斯雖為西班牙後裔，但幼年受印第安人撫養，因此能從不同的面向描繪秘魯後殖民時期之莊園及採礦歷史，而在小說中提出一個類似Pratt的「反征服」敘事。透過小說，作者雖知實現其計畫困難重重，仍意圖創造一個新的主體，一種文化混血的主體，在秘魯特有的文化異質性中，擔任不同種族及文化之間差異的橋樑角色。作者在尋求文化的平衡中，切入殖民大敘事中去認同其原住民文化之土地觀，然而在小說結尾中此反征服的敘事，仍明顯存留了大敘事中文化征服的部分。

This paper suggests that José María Arguedas (1911-1969) in his novel All the Bloods (1964) presents a “contact zone” characterized by a confrontation between the cultures that exist in the post-colonial Peruvian society. In this paper, we use Mary Louise Pratt’s post-colonial theory and the Andean cosmology to read the discourse of the novel with respect to the different concepts of land in the contact zone, analyzing how people associated with these different views change or resist change in these social spaces and the consequences of their attitudes toward the land. Arguedas, a Hispanic raised among the indigenous people, is able to depict the consequences of the hacienda settlement and the mining history from multiple perspectives and presents in fiction a narrative similar to the “anti-conquest” narratives identified by Pratt. Throughout the novel, despite the great difficulties that arise when realizing his project, Arguedas tries to create a new subject, a mestizo culture, which can serve as a bridge between the racial and cultural differences in the multicultural heterogeneity that characterizes Peru. By means of this stance, in pursuit of cultural balance, he has entered into the colonization narrative to identify with the indigenous culture’s concept of the land. However, as is clear in the end of the novel, even the anti-conquest narrative remains part of the larger narrative of cultural conquest.