本論文主要研究童妮•摩里森小說中非裔美國人的創傷歷史及記憶。筆者嘗試探討歷史或個人的創傷後遺症如何影響族裔身分與個人主体認知的建構、創傷歷史如何跨世代的承傳、過去創傷的記憶如何透過小說中角色鮮明的呈現來引人省思、書中角色又是如何回應種族歧視及羞辱。本研究理論架構以引用創傷理論的分析為主，將非裔美國人的歷史視為延續至今的創傷。歷史的陰影，幾乎如鬼魅般追趕著後代子孫，對於非裔而言，創傷並不同於加諸於身體上的暴力，而是深刻銘刻在無意識的夢魘。在摩里森的小說中，筆者選擇討論以跨世代歷史記憶為情節主軸的四本小說。第一章嘗試探討摩里森小說《最湛藍的眼睛》和《摯愛》中，美學、倫理和黑人女性主體的關係。在小說裡，摩里森揭露白人美學中的種族偏見以及它對黑人女性主體形塑的負面影響。對摩里森來説，美學的判斷和倫理是分不開的。第二章討論《摯愛》小說裡種族跨世代記憶以及克服/醫治歷史創傷的可能性。《摯愛》這本小說提醒讀者，歷史失憶既反映出歷史創傷的傷痛猶存，也突顯了超越與克服創傷的必要。再者，摩里森在小說中亦同時暗示唯有透過回憶與言談才能達成集體醫治歷史傷痛的目的。第三章討論《所羅門之歌》中跨世代記憶的議題以及失去父親所引發的認同危機。本書的主角乳兒 (Milkman) 必須克服及承擔著他的家族多元的種族創傷，雖然他沒有親身經歷這段過去，但歷史仍然追趕著他。摩里森強調非裔美國人需要在過去和現在間建立起有效的連結。除非乳兒面對他的過去，不管是個人的或是共同的過去，否則他不會知道如何欣賞非裔美國人文化遺產的美，更無法從非裔文化中獲得力量。第四章討論《樂園》這本小說中非裔男子氣概和非裔國族主義的議題。這一章探討非裔男性在種族歧視的氛圍下，往往無法展現其男子氣概。這些心靈受傷的男性，卻將其憤愧轉嫁至更為弱勢的非裔女性身上。非裔社會中屢見不鮮的暴力現象，反映出非裔男性在面對種族歧視時卻無力改變現狀的挫折感；這與非裔所承受的歷史欺壓與傷痛有其緊密的連結。非裔男性的暴力行徑，既可視為對種族歧視的回應，也可視為一種反動。《樂園》不僅對六、七零年代美國黑人國族主義的性別偏見提出犀利的批判，也深刻闡述了摩里森持續關心的議題—非裔美國男性的難處及非裔女性面對種族與性別雙重歧視的困境。

This dissertation intends to study the haunting power of the past—the legacy of slavery and the trauma of racism—on the lives of African Americans in Toni Morrison fiction. In this dissertation, I attempt to examine how the aftermaths of historical and individual trauma affect the formation of ethnic identity and black subjectivity, how the traumatic history is haunting across generations, how the memory of the traumatic past is mediated and imaginatively portrayed through fictional characters and in what ways those characters respond to racism and imposed shame. Based on the theories of trauma, I view African American history as a prolonged history of trauma which haunts generations of blacks. The impact of the past is always present in a variety of ways. Among Morrison’s fiction, I will only choose four of her novels as my major concern to elaborate the fundamental issues that Morrison consistently highlights. The first chapter attempts to investigate aesthetics, ethics and black female subjectivity in Morrison’s The Bluest Eye and Beloved. In the novels, Morrison discloses the racist biases of white aesthetics, as well as its damaging impacts on reshaping the subjectivity of black women. For Morrison, the aesthetic judgment is inseparable from ethics. The second chapter tackles the problematic of racial haunting and the possibilities of working through historical trauma in Beloved. The writing of Beloved not only serves as a reminder as well as a symptom of historical trauma but also offers a way to heal collectively historical trauma. The third chapter is concerned with the issue of postmemory and the crisis of fatherhood in Song of Solomon. The main protagonist, Milkman, still has to work through the multi-ethnic past of his family which, though not directly his, yet haunts him nonetheless. Morrison emphasizes the need for African Americans to forge productive links between past and present. Unless Milkman confronts his past, both personal and collective, he will not know how to appreciate the beauty and power of African-American cultural heritage. The fourth chapter engages with the problematic of black manhood and black nationalism in Paradise. In this chapter, I endeavor to explore how the wounded black manhood is formed in response and in reaction to the historical oppressions of black men as a whole. Set in the sixties and seventies of America, Paradise is a critique to the biased gender politics of black nationalism at that time. It reveals Morrison’s persistent concern with the plight of black men and the continuous victimization of black women.

Introduction 1
Chapter One
Aesthetics, Ethics and Black Female Subjectivity in The Bluest Eye and Beloved.. 37
Chapter Two
Racial Haunting and Working-through in Beloved 80
Chapter Three
Postmemory and the Crisis of Fatherhood in Song of Solomon 124
Chapter Four
Trauma, Black Manhood and Black Nationalism in Paradise 167
Conclusion 208
Works Cited. 212

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