創傷敘事與療癒－論南．戈丁的《性依賴的敘事曲》、《空頁》、《我將是你的鏡子》

Abstract

本篇論文主要探討美國80年代後藝壇重要紀實女性攝影師南．戈丁（Nan Goldin）於70至90年間拍攝作品。本文以圖像分析，輔以既有評論與文獻進行詮釋，探討戈丁如何透過攝影敘事，療癒因性、毒品、愛滋對其生命造成的創傷。為專注於戈丁攝影中的創傷療癒與敘事治療，援引美國心理學者茱蒂．赫曼（Judith Herman）創傷復原三階段論述，以及敘事治療學者麥克．懷特（Michael White）對敘事權力與掌握主體的分析，檢視戈丁攝影敘事中的創傷療癒過程。

戈丁以拍攝自身與其所處的美國紐約社會邊緣族群生活為主。以族群內角度，用攝影記錄自我創傷記憶的同時，不帶批評眼光的鏡頭也側寫了該族群不同於主流歷史觀點的面貌。戈丁透過攝影掌握敘事權力，在面對性與毒品的創傷時，以攝影建立自我復原的安全機制。再以書寫歷史的方式，藉由作品透露女性的處境，將隱默於歷史的女性經驗重返歷史，並以此成為回顧與哀悼的儀式。最後，戈丁透過其作品的展示，超越社會邊緣的框架，引起社會個體對孤寂的共鳴，以及對愛滋創傷的關懷，喚醒社會對創傷歷史的重視，以此建立社會聯繫關係。

Nan Goldin has been a documentary photographer in the US since the80s. This thesis aims to understand how Goldin healed the threetraumas, including sex, drug, and AIDS, which stroked against in herlife by photographic narrative during 70s to 90s. With regard totrauma recovery and narrative therapy in Goldin’s photographs,American psychologist Judith Herman’s discourse of trauma and three healing steps as well as Michael White’s discourse of narrative power and subject are both applied in this thesis.

Goldin was famed for photographing people including herself living on the fringes of society. She took photos of her live and provided insider perspective of this group against the mainstream criticism. It is found that Goldin regained her safety by her photography practice and handing in the narrative power when she faced sex and drug trauma. In addition, her photos were not only the witness of her own life, but also the ones revealed how the women lived in her era. Therefore, Goldin’s photography was one kind of feminine writing and made women’s experiences back to the history, and it could be regarded as a ceremony of remembrance and mourning to heal the trauma she faced. Finally, Goldin’s photographs tended to go beyond the fringe limitation and arouse sympathetic responses from the aloofness society. Especially when AIDS collapse US society, her photos played the remarkable role to reconnect the society by rising people’sattention to their trauma history.