古巴裔美國藝術家安娜．門蒂耶塔（Ana Mendieta, 1948-1985）的《輪廓系列》（Silueta Series, 1973-1980）在當代藝壇獨樹一幟，吸引了豐富的女性主義理論與後殖民論述的解讀，但是從生態女性主義（ecofeminism）角度切入的詮釋才初露苗頭。這篇論文嘗試將《輪廓系列》置於生態女性主義的脈絡解讀，以深入分析這系列作品所展現走在時代先端的生態關懷與觀點。筆者將基於多元交織的（intersectional）的女性主義觀點，從象徵的（symbolic）符號解讀著手，凸顯門蒂耶塔之所以能在《輪廓系列》展現獨闢蹊徑的生態觀，乃受她從小耳濡目染的拉丁美洲薩泰里阿教（Santería）與民俗文化影響，將這些啟發轉化成與眾不同的女性主義生態藝術實踐。在生態女性主義的詮釋方面，筆者將援引尚未有學者論及的梅勒（Mary Mellor）具性別觀點的生態的時間（ecological time）概念，深入從物質主義的（materialist）生態女性主義角度探討《輪廓系列》所展現女性與生態療癒的關係。筆者也將開拓從索引的（indexical）符號分析切入，結合物質的（material）女性主義學者阿萊莫（Stacy Alaimo）的跨肉身性（trans-corporeality）理論，以解讀門蒂耶塔如何展演生態系統所有生命形式的相互開放、依賴與交纏，凸顯自然世界之物質性與能動性，拆解了父權對自然環境資源主義的思維，並邁向後人類中心主義之生態復原觀。

The Cuban American artist Ana Mendieta (1948-1985) has been best known for her Silueta Series (1973-1980) which stands out as a unique artistic expression in the contemporary art world. Although there are abundant interpretations of her works from a feminist or a postcolonial perspective, an ecofeminist approach remains underexplored. This study attempts to contextualize the series of earth-body art through the development of ecofeminisms, seeking to shed new light on its pioneering ecological concerns. The analysis, based on the intersectional feminism, explores Mendieta’s ecological views by reading the symbolic dimensions of the Silueta Series. It argues that the artist’s special ecological aesthetics and ethics is inspired by her exposure to the Latin American ritual practices of Santería and the folk culture from her childhood. In this study, Mary Mellor’s concept of the ecological time with a materialist ecofeminist perspective is applied as a new approach to interpret Mendieta’s performances and silhouettes that embody women’s role in the environmental restorations for ecological sustainability. This study also initiates an analysis of the indexical dimensions of the Silueta Series with the material feminist Stacy Alaimo’s theory of trans-corporeality. This approach has led to the understanding of Mendieta’s body traces in the flux and flow of natural world as unfolding the openness, the interdependence, and the entanglement of all lifeforms within the ecosystem. It shows that this series highlights the material agencies of these natural sites, actively uncovering its trans-corporeal replenishment. By so doing, the series undermines the patriarchal ideology of resourcism, and evolves into an ecological restoration perspective of the environmental posthumanism.

安娜．門蒂耶塔; 大地─身體藝術; 瑪麗．梅勒; 史黛西．阿萊莫; 生態的時間; 跨肉身性

Ana Mendieta; earth-body art; Mary Mellor; Stacy Alaimo; ecological time; trans-corporeality