試論流行傳奇小說之策略：飄

The Politics of Popular Romance: Gone With the Wind

10.7060/KNUJ-HA.200606.0113

劉清泰(Ching-Tai Liu)

傳奇小說 ； 意識形態 ； 歷時和共時 ； 史詩 ； popular romance ； paradigm ； ideology ； feminism

高雄師大學報：人文與藝術類

20期（2006 / 06 / 01）

113 - 124

繁體中文

本文為第一部概述流行傳奇小說之閱讀理論，及此文類在文化結構下呈現之政治、性別及意識形態之文本詮釋。流行傳奇小說在馬克思主義理論影響下自有其政治、歷史和意識形態的意義。從女性主義觀點來看，文本與讀者之關係有性別之區隔。同時從歷時和共時研究方法上，說明傳奇要素仍滋長於現在寫實小說裏。 在第二部分的文本裏，試從流行傳奇小說理論解讀《飄》，在種族、歷史、性別意識形態和階級的意義。它可說是以美國內戰，南方白人農莊為背景的流行傳奇史詩。在情節的發展中，詮釋了美國南方白人在性別、階級、種族、政治和意識形態的矛盾。小說在結局的結構上符合其政治和歷史意識型態的發展。從黑人女性的角度上來看，本書自有其流行傳奇小說的歷史定位。

In this paper, I attempt to present a general survey of popular romance theory, focusing on romance as a genre and pointing out a new paradigm of both structural and semantic reading of gender, ideology and politics in cultural formations of romance. From the stance of Marxist theory, the mixture of the real and the ideal in most romances brings out some complex political and ideological effects. From the viewpoint of feminism, the relationship between text and reader has to do with gender politics because most romance readers are women. At the same time, I also employ both diachronic and synchronic approaches to illustrate the romance elements remaining alive in the heartland of realist novels. After I set forth a theory of popular romance, I focus on an analysis of a modern popular romance, Gone With the Wind by Margaret Mitchell (1900-1949), based on racial, historical, ideological and feminist approaches. Mitchell constructs a comprehensive, representative epic of region, class, race, and sex in treating the white southern plantocracy. In the development of romance plot, the author employs the characterization to enlarge and embody her southern ideology and nostalgia. It is through Scarlett O’Hara that she offers feminist readers a large open space of imagination because O’Hara plays the roles of Old and New South, confusions of gender and race, and historical and mythological frames of reference. Still there is a significant difference between this novel and other popular romances, in which, the happy ending is concerned not with a man but with a piece of land. It ends in a manner inconsistent with popular romances but completely suitable to the political and historical ideology that is presented throughout the text. Gone With the Wind is unique, as a southern fiction that narrates human passions in a restless historical period; at the same time, it conveys some different discourses of specific ideological and political positions that hold the values of the Old South. If we pay some attention to that racist white feminism that has alienated Black women from the recent women's movement, we have to reconsider the literary and historical positions of this novel as a popular fiction.

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