南韓女編劇金秀賢家庭劇的母性與母職研究 ：以 韓劇 《媽媽發怒了》、 《人生多美麗》、《無子無憂》為例

A Study on Motherhood and Mothering in Korean Female Script Writer Su-Hyeon Kim’s Family Dramas: Taking Mom’s Dead Upset, Life is Beautiful, Childless Comfort as Examples

本文分析南韓女編劇金秀賢三部家庭劇中的母性與母職議題，探究女編劇如何形塑母親的性別角色，又如何透過這群媽媽的圖像陳述時下的女性問題，以及如何再現母親的主體性議題，同時這樣的敘事對於傳統父權體制下的母親形象帶來何種反思。本研究目的在於理解女編劇如何將傳統保守與新世代的母性與母職議題透過電視劇敘事發聲，又如何將女性意識透過角色、情節、對白再現母親的論述觀點。本研究採用Chatman敘事理論中的故事分析亦即以故事中的母親人物與事件為研究核心分析這些媽媽角色如何通過事件反映出性別文化的意涵與女編劇的主體反思。研究發現金秀賢的家庭劇中，母親作為一個符號能指，其角色功能不僅是救援、解決事件的所指，更進一步運用母職罷工、母職休假、女性身體自主等，朝向「為母的女性主義」敘事意涵。

This study anal yzes the subject of motherhood and mothering in South Korean female script writer Su Hyeon Kim’s 3 family dramas. How Kim created the characters of mother, how she raised female issues from those characters, and what ma ternal thoughts three dramas brought up under patriarchal society are discussed. The purposes of this study are to understand how Kim narrated female voices between traditional and young generations, and how maternal discourse was represented by characters , plots, and dialogues. Chatman’s narrative theory as a method is used. This study focuses on the actants and events of mother and discusses gender cultural implication in those TV dramas and female subjectivity under Kim’s writing. It is found that mother is signified as a function of help and problem solving; moreover, Kim’s dramas is toward s a narrative of maternal feminism by mothering strikes, vacations, and female body autonomy.