本論文欲藉生命書寫與光影書寫中的虛構性閱讀維茲諾作品《內心風景：自傳的隱喻與神話》中的自我形構。生命書寫與光影書寫的對話之可行性來自於提摩希．亞當斯在《光影書寫與生命書寫：自傳中的照片》的討論。亞當斯推翻自傳與照片原本被視為與真實世界間具有參照性的特質，認為兩者兼具語言之不確定性，故並置兩種媒介可瓦解彼此固有的參照性並呈現作者自我形構之虛構傾向。第一章將檢視生命書寫與光影書寫的虛構性及它如何可使自我形構過程可能。兩種媒介之意義建構倚賴於語言之上，語言本身的不確定性瓦解它們原本具有的參照性與建構之意識形態，特別是自傳文字所呈現的自我的完整性與在家族照片所尋求的血統關聯性之身分認同政治。第二章探討文字敘述與視覺影像如何互補而形成彼此間有趣的辯證關係：照片不只是做為回憶的憑藉而是文字重新創造與想像的媒材；而文字也重寫了照片作為歷史見證傳達的訊息。第三章討論維茲諾書寫生命與光影應用的搗蛋鬼論述，分析作者如何將自傳中的我與其部落神話中的搗蛋鬼角色連結並創造出混血之身分認同。維茲諾作品中生命書寫與光影書寫的對話呈現自傳與照片不僅作為記憶，更作為自我生命形構中自由想像與創作的場域。

This thesis attempts to examine how fictionality in life writing and light writing forges a liberating space to read the self-making in Gerald Vizenor’s Interior Landscape: Autobiographical Myths and Metaphors. The feasibility of setting a dialogue between life writing and light writing derives from Timothy Adam’s discussion in Light Writing and Life Writing: Photography in Autobiography. Adams demonstrates how autobiography and photography, inherently thought as referential, actually possess the indeterminate characteristic of language; hence their juxtaposition displays an intriguing effect of dissolving the artificial distinction of the two media and their interplay presents the writer’s fictive impulse of making himself. Chapter One provides a survey on how life writing and light writing can be productive media to present a self-making process. The residence in language of the two media deprives the presumed referential masks they wear and the constructed ideology disguised as truth behind, primarily the illusion of the unity of the self and the identification through lineage found in photographic representation. Chapter Two explores how the verbal narrative and visual images complete each other in Vizenor’s Interior Landscapes. Photography in an autobiography forms an interesting dialectics between image and text: photography serves not only as a mnemonic device but as the material base for imagination and creation to thrive in words, and the autobiographical text rewrites what has been put in the photocopy of a historical document. Chapter Three discusses the trickster discourse that Vizenor incorporates in his life writing and light writing and analyzes how the writer associates his autobiographical self with trickster figures from the tribal myth and hence creates a trickster mixedblood identity. The dialogue between Vizenor’s life writing and light writing reveals the possibility that both autobiography and photography could be not only the site of memory but also that of imagination and creation in self-life-making.

Table of Contents
論文審定書 i
Acknowledgments ii
摘要 iii
Abstract iv
Introduction 1
Chapter One: Fictionality in Life Writing and Light Writing 17
1.1 Poststructuralist Intervention in Autobiographical Studies 17
1.2 Photographic Paradox and Familial Look 23
1.3 Contextualization of Light Writing in Life Writing 30
Chapter Two: Dialogic Space between Photography and Autobiography 35
2.1 The Last Photograph 35
2.2 The Land Allotment Photograph 46
2.3 Photography as the Site of Creation 55
Chapter Three: “Myths Make Truth” in Interior Landscapes 59
3.1 Infusion Between Myth and History 60
3.2 Trickster Metaphors of the Self 71
3.3 “Mythic-Self-Authoring” 79
Conclusion 82
Works Cited 86

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