原住民女性身份認同與（被）書寫的變貌——從沙鴦、綢仔絲萊渥到利格拉樂．阿女烏

Status Approbation & Writing Change of Aboriginal Female–from Sayun, Chuwas Lawa to Liglav‧Awu

當代原住民文學創作作家輩出，原住民漢語文學研究日益蓬勃，然而對原住民女性文學的研究，當由上溯原住民女性歷史入手，方可以深究出原住民女性身分認同，以及由被書寫詮釋到掌握書寫的種種變貌，當中較諸男性又有更多一層女性意識覺醒的漫長歷程。本文即欲嘗試由日治時期電影、小說中呈現的原住民女性沙鴦圖（形）象入手，探討強勢族群出於政治動機對弱勢族群的詮釋改造；而經由身歷日本、國民政府統治之綢仔絲萊渥的日文手札被研究的過程，可發現其間透顯出或是原住民，或是日本人，又或是中國人這三階段身分認同的糾葛複雜；迄今，利格拉樂‧阿女烏的漢文書寫，經其中可見由外省中國人到原住民到原住民女性的身分認同曲折過程與女性書寫豐富面貌。由此三位原住民女性可知，到了女性真正能寫作，方才奪回「詮釋」自我與族群的權力。

The writers of aboriginal literature creation coming forth successive in contemporary age, the aboriginal Chinese literary research also is increasingly. However, to the research of aboriginal female literature, we should start from aboriginal female history, we can probe deeply various change and feature of aboriginal female status approbation and writing, and there is more female awareness' long process than male. This article desires to try to start from an aboriginal female, Sayun's image in films novels in Japanese occupation period, and approach the annotation and reformation to minority ethnicity from majority ethnicity due to political motive. We also can find the complication of status approbation from three steps – aborigine, Japanese, or Chinese through the process of studying Japanese personal letters of Chuwas Lawa who experienced successively the governance of Japanese government and Government of R.O.C. Up to the present, we can find abundant female writing style and status approbation of aboriginal female in the process complicated from the status of another province people, aborigine, and aboriginal female through Chinese writing of Liglav‧Awu. We know the female can write really from these three aboriginal female, and the“annotation”right of ego and ethnicity just be taken back.