性別與身分認同之探討---西班牙後佛朗哥時期的女性作家之偵探小說 (III)

Abstract

長久以來，由於西班牙文學評論家的性別偏見及男性優越感，致使女性作家之作品通常不被選錄於西班牙文學歷史。就偵探小說文體而言，西班牙女性作家更是極少被提及，即使她們早在該文體發展之初便投入創作。對於女性作家與女性讀者而言，偵探小說比起其他文學形式更貼切的呈現與女性相關的嚴肅議題。偵探小說提供了理想的文學模式與寬廣的書寫空間，讓女性作家盡情的展現其女性主義之論述，進而藉著女性主角偵辦犯罪案件的過程探討女性權力與女性意識的覺醒，而與女性在傳統男性偵探小說中所扮演的惡女角色形成強烈的對比。本計劃以性別與身份認同之主題來詮釋西班牙後佛朗哥時期的數位暢銷女性作家之偵探小說作品，承續個人近年來的當代西班牙偵探小說之研究計畫，擴展性別主題與大眾文學體裁的運用，有架構性地探討西班牙女性偵探小說的創作脈絡，以期增添西班牙文學評論的研究成果。本次計劃將以三年期方式執行。第一年以孟德羅(Rosa Montero)的兩本暢銷小說Te tratare como a una reina（《我對待你如同一位皇后》）（1983）與La hija del canibal（《吃人肉的女兒》）（1997）為例，探討作者如何藉著偵探類體裁作為作品的結構模式以建構女性自我實現與女性主體認同的論述。第二年將研究當今知名的女性偵探小說家喜美內斯巴爾雷(Alicia Gimenez-Bartlett)以女警官Petra Delicado 為主角的一系列6 部偵探小說：Ritos de muerte（《死亡的儀式》）（1996）、Dia de perros（《狗的歲月》）（1997）、 Mensajeros de la oscuridad（《黑暗的使者》）（1999）、Muertos de papel（2000）、Serpientes en el paraiso（《天國之蛇》）（2002）、Un barco cargado de arroz（《滿載米的船》）（2004），將探討作者如何書寫以女性為中心之偵探文本。第三年則將研究卡塔盧尼亞語系地區的三位新生代女作家─奧莉薇(Maria-Antonia Oliver)、西摩(Isabel-Clara Simo) 及瑪荷納 (Assumpta Margenat)之偵探小說作品，將探討三位女作家如何運用偵探小說文體解構傳統父權社會所賦予女性之刻版形象，又如何再現女性/他者(Other)的特質，進而改寫卡塔盧尼亞女性的雙重邊緣化。

Traditionally, Spanish women’s works were often excluded from literary histories of Spain. With regard to detective fiction, female authors rarely have been mentioned in the existing critical histories of the genre in Spain, even though they have been involved with this literary form since its inception. For the women writers and readers, detective fiction is more sensitive than other literary forms to respond and to reflect issues related to women. In fact, detective fiction provides an ideal literary medium for the incorporation of a feminist agenda and the articulation of a feminist consciousness and women empowerment, in sharp contrast to the origins of the genre in which women were often antagonists to the male heroes. The present project attempts to explore gender and identity as central themes to study detective fiction by certain popular female writers in the post-Franco Spain. The project is a continuation of my research on contemporary Spanish detective writing, and it expands the subject of gender and popular literary genre, constructively investigates the writing style of Spanish women’s detective novels. This will increase the research achievement on Spanish literary criticism. This project will be conducted in three years. In the first year, Te trataré como a una reina (1983) and La hija del caníbal (1997) by Rosa Montero have been analyzed. I have studied how Montero uses the detective narrative framework as a pretext for the woman’s self-realization and the construction of a female discourse in both novels. In the second year, a series of 6 detective novels (Ritos de muerte, Día de perros, Mensajeros de la oscuridad, Muertos de papel, Serpientes en al paraíso, Un barco cargado de arroz) on a female inspector Petra Delicado by Alicia Giménez Bartlett are included. I am analyzing how Geiménez Bartlett constructs “feminocentric texts” in her detective novels. In the third year, a small number of detective works by Maria-Antònia Oliver, Isabel-Clara Simó and Assumpta Margenat, who belong to the new generation of female writers from the Catalan-speaking regions of Spain, will be examined. I will focus on how these three writers intend to use the detective genre to deconstruct those stereotyped negative representations of women and how their female characters represent their otherness to rewrite Catalonian women’s double marginalization.