本論文旨在運用王荷莎(Hertha Wong)的原住民生命書寫理論為基礎，耙梳安綴姿的傳記《擲火向陽、擲水朝月》，並強調安綴姿的作品突破了傳統對自傳文類的限制。王荷莎指出，若將歐美對自傳的理論強壓在原住民的作品上，其作品將永遠排除在主流文化外。她極力衝撞傳統，分別從自傳的字源：自我(Self)、生命(Life)和書寫(Writing)作切入，精闢分析原住民生命書寫與歐美自傳的理論產生的撞擊，亦突顯歐美理論的盲點。第一章為「緒論」，闡述論文主題，並著墨作者的生命歷程、家族背景和雅基族(Yaqui)的歷史。第二章為理論基礎，以王荷莎立場為主軸，並補充其他各家關於原住民生命書寫的觀點。第三章為「自我」，安綴姿呈現的自我並非以個人為主的小我，而是以社群為主的大我，她在自傳中不斷召喚祖靈和族人來形塑雅基族的社群，而家族血肉離散的淒苦更冥冥之中召喚安綴姿回家。安綴姿說，「歸鄉之旅也是進入她的心靈之旅」(xiii)。自我跟故土透過返鄉得以緊密結合。所以，安綴姿呈現的自我是以「社群」(communal)和「地域」(localized)為中心的我。第四章為「生命」，旨在陳述安綴姿的生命書寫超越人類精神層次，瓦解以人為本的理性思維。安綴姿的生命故事蘊含對萬物的尊敬，唯有透過其他萬物的存在，人類生命才得以延續。第五章為「書寫」，安綴姿的自傳粉碎了美國原住民被貶為消逝文化的迷思。她的作品展現豐富的反動能量。首先，整部作品詩文參雜、夾議夾敘，書末甚用圖畫來「書寫」生命。「書寫」不再只是單向、線性式的敘述，書寫可以是開放式的敘述。詩、散文、圖畫無疑是對「文類」的反動。再者，安綴姿的書寫語言以英文為主，以西班牙和雅基族的語言為輔，其語言的駁雜性也顛覆英語為中心的霸權。整部作品自始自終嘲諷歐美的書寫系統。第六章為「結論」，翹首盼望安綴姿的作品能如其名，如火似水，不斷燃燒和灌溉雅基族的命脈。

This thesis investigates autobiography from the standpoint of Native Americans, using Anita Endrezze’s work as my anchor text. Drawing on Hertha Wong’s critical position on Native American life writing, I argue that Anita Endrezze’s autobiography, Throwing Fire at the Sun, Water at the Moon (2000), widens the scope of traditional generic limitations. The first chapter is the introduction, which delineates the theme of the thesis and introduces Yaqui history and Endrezze’s family and cultural background. The second chapter analyzes what characterizes Native American autobiography by borrowing Hertha Wong’s standpoint. Hertha Wong is one of the first theorists who yearn to widen the scope of the well-established generic limitations. She theorizes Native American autobiography by putting its etymology (“self,” “life,” and “writing”) under scrutiny. Wong’s critical base is the key thread of the chapter, and other critics’ positions on Native American life writing are also provided as subsidizing points. Chapter Three revolves around how Endrezee conceptualizes “the self” in her autobiographical narratives. Wong argues that Native Americans never regard the self as a separate entity from their community. Correspondingly, Endrezze consciously strives to construct a communal self in her personal narratives. To reach the aim, she relates herself to her relatives, her ancestors, and the present-day Yaquis. Besides, through her homing-in journey, she makes a direct connection to her ancestral homeland. Therefore, the representation of the self is not only community-based but also localized. Chapter Four aims to show that Endrezze’s life narratives go beyond the realms of humans. That is, her autobiography resists anthropocentric narratives. She tells stories about the corn, the rain, and a wide variety of plants and animals. It is through the assistance of non-humans that human life is sustainable. Chapter Five aims to argue that Endrezze’s autobiography shatters the fallacy that Native American culture is in demise. On the contrary, it is burgeoning. Endrezze uses her autobiography to fight back. Endrezze attempts to hybridize the languages to pose some reading obstacles to Euro-Americans. Besides, inserting her paintings at the end of autobiography is also a political act because it subverts traditional writing system. She mocks at the mono-dimensional narratives. Chapter Six is my conclusion, in which Endrezze’s cultural and literary contributions are re-affirmed. It is my deep hope that Endrezze’s book can, as her book title symbolizes, become another form of fire/water to continue the life of Yaquis.

Chapter One: Introduction……...................................... 1
Chapter Two: Native American Concepts of the “Self,” “Life,” and “Writing”…......14
Chapter Three: Self ………………………......................28
Chapter Four: Life……......................................................43
Chapter Five: Writing..................………………………...57
Chapter Six: Conclusion ……………………….............72
Works Cited…...................................................................75
Appendix: E-mail Interview with Anita Endrezze..........81

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