本文主旨乃以傅柯「反歷史」(counter-history)之理論基礎，將奧克塔維婭．E．巴 特勒的小說《家族》(Kindred)視為一本瓦解美國主流史觀下的內戰前南方與奴隸生活 的新奴隸敘事。藉由女主角戴娜以當代非裔女性第一人稱之角度，敘述其重返祖先在 19 世紀馬里蘭州所擁有的莊園，巴特勒在此本小說中重現暗藏在傳統戰前歷史記述中 黑奴們在南方莊園內面對暴力的恐懼，並且試著釐清奴隸與白人莊園主階級之間錯綜 複雜的情感關係。本文包含三個主要章節，第一章透過威靈莊園內黑人保母(black mammies)所遭遇的性暴力經歷，來檢視黑人女性在白人父權主義之下的多重身分。第 二章則探討作者在小說中所呈現的南方奴隸主以及莊園主肩負的責任與義務，和自身 慾望產生的矛盾與衝突。自 1960 年代非裔美國人民權運動(African-American Civil Rights Movement)後，儘管非裔美國人看似獲得與白人相同的政治、法律以及公民權 利，但在種族界線前巨大的社會經濟落差仍然使許多非裔美國人無法感受到實質的種 族平權。因此，第三章分析主角戴娜隨著小說故事發展而演變的自我意識，以重現 70 年代的非裔美國人如何面對奴隸制度在美國社會中留下的複雜後果。

By employing Michel Foucault’ theoretical configuration of “counter-history,” this thesis reads Octavia Butler’s Kindred (1979) as a neo-slave narrative that disrupts mainstream historiography of the antebellum American South and life under slavery therein. With the
first-person narrative of a young, modern African American woman’s uncanny visit/return to her great grandparents in an antebellum plantation, Butler reveals horrors of violence diluted or unspoken in traditional accounts of the antebellum southern life, and engages with complicated bonds between the slaves and the slave-owning class. This thesis compromises three chapters. Chapter One examines the mammies’ experiences of sexual violence, in order to gain a better understanding of enslaved black women’s identities under white patriarchy as properties, servants, nannies, and mothers. Chapter Two looks into the novel’s representational strategies of white male slave-owners caught by conflicting desires and obligations. Chapter Three analyzes the protagonist’s evolving senses of selfhood along the novel, with a focus on how they bear out the complex aftermath of slavery upon African Americans up to the 1970s, when the nominal establishment of political equality across ethnicities stands opposed to economic and social grievances along the color line.

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