論歷史記憶在《沉睡的聲音》，《女囚》和《一位活在戰爭中的西班牙的女人》的呈現

Approaches to historical memory in La voz dormida, Cautivas and Una mujer en la guerra de España

本文的主要目的為分析在Dulce Chacón的小說《沈睡的聲音》，Juana Escabias的劇本《女囚》和Carlota O’Neill的自傳《一位活在戰爭中的西班牙的女人》是如何以不同角度來呈現關於內戰的“歷史記憶”。“記憶之地” （Les lieux de Mémoire）被法國歷史學家Pierre Nora首次提出，並在西班牙廣泛應用於藝術領域。該概念意為某個群體依靠某種媒介來整理他們某段歷史的記憶，並滿足其在情感或政治上等的需求。我們研究的三本作品正是分別借由小說，劇本和自傳,為那些在內戰時期所遭受種種苦難的女性呼喚正義。三本著作在內容和精神上具有一定的相同性。這意味著她們的作品皆是在一部分真實歷史的基礎上進行重建。然而，不同文學種類的特質決定了它們在創作目的，情感釋放，甚至對歷史的理解與加工程度上存在不同之處。我們希望通過三本內戰文學的詮釋與分析，讓大家關註在文學領域處在邊緣位置的女性。她們雖遭受戰爭和牢獄之痛，男權壓迫之苦。但我們在其身上感受到人性的光輝，不畏強權，不懼黑暗。

 

This paper aims to analyze how the historical memory of Civil War is presented in La voz dormida, Dulce Chacón’s novel, Cautivas, Juana Escabias’s play and Una mujer en la guerra de España, Carlota O’ Neill’s autobiography from different views. "Les lieux de Mémoire" was firstly proposed by Pierre Nora and has been widely used in arts field in Spain, which indicates a group try to organize their memory through certain medium with the purpose of meeting their emotional or political needs. And what we studied from the novel, script and autobiography, is to pursue the justice for women suffering in the civil war. It is worthwhile to mention that these three works have certain similarities in content and spirit, which means that they are reconstructed on the basis of a part of real history. However, the nature of literary distances themselves from each other in the purpose of the author, the emotional tone and even the interpretation and transformation of history. Therefore, we hope, through the analysis of three works, those women having suffered from the wars, jails and the oppression of male power can receive more attention even if they are still in the marginal position in the field of literature. And meanwhile, we can appreciate the glory of humanity from them, and the power of fearlessness as well.