本文旨在以文化、母性、及性慾之觀點探討福克納《下去吧！摩西》及莫里森《摯愛》中對黑人女性屬性之再現與建構。兩部作品之並置閱讀，強調不同性別與種族之作家「再現政治」與「屬性建構」之互異；文本的互相指涉更說明黑人女性於種族主義與性別歧視雙重壓迫下生存的窘境。
第一章藉詹明信的「詮釋」理論以及巴赫汀的「眾聲喧嘩」(heteroglossia)釐清主流文本與再現文本建構之相異處。第二章強調文化屬性之文本化與歷史化，彰顯「再現政治」與黑人女性屬性建構之互動關係。霍爾在〈文化屬性與飄泊離散〉一文中表示：「再現的實踐總是隱含我們說話或書寫的位置-發言的位置」(110)。福克納文本中的白人男性不僅掌控發言的位置與再現的場域，更宰制了黑人女性屬性之建構。這些弱勢族群真正的自我，存在麥卡斯林家族帳冊的銘刻與主流社會的論述裡。由此可見，對弱勢族群而言，爭取發言的位置與再現的權力，意味著顛覆宰制團體強加於己的身份。莫里森在《摯愛》中成功地以「再記憶」與「受壓迫者的重返」，重溯被刻意遺忘之歷史，進而重建弱勢族群之屬性。第三章著眼於審視黑人女性於奴隸制度壓迫下所衍生之特殊的母性屬性。在以白人為中心的論述裡，最著名的黑人母性之刻板形象首推順從且忠心的黑人褓姆。他們無怨無悔的自我犧牲神話了黑與白之間的種族對峙，同時揭露了黑人女性長期飽受家務剝削的困境。在莫里森的再現文本中，她對黑人母性提出另類的闡述。寶貝薩格絲?(Baby Suggs)扮演「社群母親」(community othermother) 之角色鼓舞整個族群重視自我肯定。相較於薩格絲，賽施為保護女兒免受奴隸制度之摧殘，以「殺嬰」來對抗野蠻的體制。此舉透露出黑人母親在奴隸制度下的錯綜矛盾，也象徵了奴隸制度之內與之外那些「無法啟齒不曾說出的思想」(199)。第四章探討黑人女性種族化的性慾屬性。女性身體長久以來即是爭議的場域，各種矛盾複雜的性/性別/種族糾葛，鋪陳了權力與宰制結構的相互連結。黑人女性無恥邪惡的刻板形象，為白人男性的性侵略編織了冠冕堂皇的藉口。在蓄奴的社會裡，女黑奴成為家族財產，同時亦是物化的性對象。在父權文化下，種族與性別偏見使黑人女性成為「雙重的他者」（the other other）。第五章總結福克納與莫里森「再現」黑人女性屬性之限制與期待。〈三角洲之秋〉中的無名女子以及《摯愛》中的丹佛，分別象徵福克納文本中，黑人女性屬性之「再現」受困於種族意識型態之宰制；以及莫里森對黑人女性爭取發言位置並自我建構屬性之殷殷企盼。

This thesis aims at exploring the construction and representation of the black female identity in Faulkner's Go Down, Moses and Morrison's Beloved. My juxtaposed reading of these two texts accentuates the distinction of representational politics and identity formation between the two writers of opposite genders and different races. In addition, the intertextuality illuminates black females' dilemma under the double oppression of racism and sexism.
Chapter One clarifies the difference between master-pieces and revisionary texts by drawing on Fredric Jameson's theory of interpretation and M.M. Bakhtin's theory of heteroglossia. Chapter Two not only emphasizes the contextualization and historicization of cultural identity but illustrates the dialogic relations between the politics of representation and the identity construction of black females. In "Cultural Identity and Diaspora," Stuart Hall demonstrates that "practices of representation always implicate the positions from which we speak or write-the positions of enunciation" (110). The white males in Faulkner's work not only govern the position of enunciation and the site of representation, but manipulate the construction of black female identities. "The real me" of the subaltern is subjected to the inscription of the McCaslin ledgers and the discourse of the dominant society. Accordingly, for the subaltern, retrieving the position of articulation and the right of self-representation aims to subvert the identity imposed by the dominant. In Beloved, Morrison successfully recapitulates the disremembered history by rememory and the return of the repressed and thereby reconstructs the subaltern identity. Chapter Three explores the peculiar maternal identity of black females in slavery. In the white-centered discourse, the loyal and submissive mammy becomes the most significant controlling image. Her self-sacrifice mystifies the black-white opposition and discloses black women's longstanding restriction to domestic services. However, in Morrison's revisionary text, she renders an alternative explanation to black motherhood. Baby Suggs, as the community othermother, uplifts the race and advocates self-affirmation. Despite Baby Suggs' opposition, Sethe kills her daughter to save her from the cruel institution of slavery. Her infanticide reveals black mothers' contradictory maternity and signifies the "unspeakable thought, unspoken" (199) in and out of slavery. Chapter Four delves into the racialized sexual identity of black females. Female bodies have long been the contested sites. The complicated and entangled network of sex/gender/sexuality bears witness to the repeated play of domination and interweaving power struggle. The image of Jezebel offers an alibi for the sexual abuses of white males on black females' body. In the slavery era, black female slaves are regarded as chattels and objectified to be the sexual receptacles. Trapped in the patriarchal world, they become "the other other" owing to the suppression of both racism and sexism. Chapter Five draws a conclusion on Faulkner's limitation and Morrison's expectation in representing black female identities. The unnamed woman in "Delta Autumn" and Denver in Beloved respectively signifies the hegemonic manipulation of the racial ideology on the representation of black female identities in Faulkner's work and symbolizes Morrison's ardent anticipation of reclaiming the enunciative position and constructing black

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