翻譯作為方法： 台灣小說與世界文學

研究誌要
Research Note

翻譯作為方法：台灣小說與世界文學
Translation as Method: The Taiwanese Novel with Respect to World Literature

陳芳惠
Chen Fang-Hwey

摘要

        1827年歌德第一次提出「世界文學」這個名詞，指陳一個「不同的國家或者地方之間文學互動交流的『現代』狀況。」也就是說歌德用它來描述十九世紀初期歐洲資本主義發達所迅速帶動開展的文化交換現象：世界文學指稱當時歐洲普遍流行的文學現象，是一個文化產品交流互動，學習融合因而改變更新的精神空間，可以說是一個文學的世界市場。因為對歌德來說歐洲的現代性既是物質產品的交易，也是文化財產的交流，而這種種交換的基礎便是翻譯。

        本文擬定把歌德的世界文學與翻譯的關係引進台灣文學的脈絡，詮釋一九二○年代之後台灣文學的生成發展實為本地文學活動與世界文學交流融合與折衝抗衡的一個範例，尤其著重一個新的文類――小說，這個舶來品文體在台灣誕生的過程。換句話說透過翻譯研究把台灣文學放置到世界文學體系裡，讓台灣文學進入一個與國際連結的比較文學場域。職是之故，本文以世界文學的模式來分析台灣文學，期冀描述台灣文學中的跨文化維度 ，亦即從日本殖民時期開始台灣作家如何透過翻譯作品汲取養分書寫新型文體，進而發現自身創造自身的文學歷史。

關鍵詞：世界文學、台灣文學、翻譯、現代性、主體性

Abstract

        Goethe mentioned Weltliteratur for the first time in 1827, that is to say “World Literature.” From his point of view, it was the modern state of the relationship between diverse national and regional literature: world literature at that time, was one “cultural space,” where exchange was frequent and one author’s work could react to another’s, and vice versa. Goethe used this term to describe the phenomenon of the emerging and rapidly progressing cultural exchange since the development of capitalism. For Goethe, European modernity was as much about the commerce of material goods as it was about cultural exchange. Translation played a major part in this universal exchange market on all levels.

        The goal of this article is to apply the relationship between world literature and its translation, in the context of Taiwanese literature. The exposure to foreign ideas, the presence of the “Other” and the resulting conflict pushed Taiwan to find itself. Among the products of this exchange is that Taiwanese literature found itself exploring a new genre, an imported genre, namely the novel. The transtextual dance between Taiwanese and foreign literature will be examined under the scope of comparative literature. Moreover, one must understand this background to appreciate the transcultural dimension of Taiwanese literature.

Keywords: World Literature, Taiwanese literature, translation, modernity, subjectivity

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論《樓下的房客》裡的日常驚懼與網路世代的人格認同

研究論文
Research Article

論《樓下的房客》裡的日常驚懼與網路世代的人格認同
The Daily Thriller of Novel The Tenants Downstairs and Personality Identity of Network Generation

蔣興立
Chiang, Hsin-Li

摘要

        恐懼是人們遭遇到威脅時所產生的自然反應，有人選擇迴避，但也有人將戰勝危險視為娛樂，因此相關的恐怖文本應運而生。網路小說作家九把刀的恐怖小說《樓下的房客》出版後，受到讀者、導演、學術評論者的關注，本文試圖藉由這部文本，思索其中反映了台灣年輕族群的何種特質？從其日常驚懼探究網路世代對身體與生命的想法，從而進窺這部文本所輻射出台灣網路世代的深層面向。透過小說的情節內涵，得以觀察出部分年輕都市生存者的自戀人格、多重面具，對他者的好奇、窺視、冷漠、排拒，書中出現大量的屍體、死亡與暴力，令人重新思考年輕世代對於生命價值的體會。恐怖文本藉由顫慄驚悚的人事物，讓我們意識到自身的脆弱，藉此強化我們的警覺性，同時，也讓我們發現真正的恐怖並非是蟄伏在我們身旁的怪物，而是來自於我們的內心。

關鍵詞：九把刀、樓下的房客、網路世代、人格認同

Abstract

        Fear is a natural reaction of individuals when facing threaten; some people choose to avoid, however, some others regard conquer the dangerous as entertainment. Thus, the horror fictions are resulted accordingly. The Tenants Downstairs is a local thriller novel which recognized by readers, directors, and academic commentators in Taiwan. Founded on this popular novel, this paper aims to discuss what characteristics of the youth in Taiwan correspond to the text, moreover, to explore the attitude toward body and life of network generation through their daily fear, and further to discover the deeper dimensions, which are radiated from the novel, of Taiwanese network generation. According to the context and connotation of The Tenants Downstairs , it could be observed that narcissistic personality and multiple faces among a part of young urban survivors, with behavior as curiosity about others, sneak, apathy, exclusivity, as well as a large number of corpses, death and violence lead readers re-thinking their perceptiveness about the value of life for network generation. Through the thriller people, events, and surroundings, horror fictions induce individuals be aware of their own vulnerability and strengthen alertness, meanwhile, guide people to realize that true horror is not the monsters hidden in around but come from inner-self.

Keywords: Giddens Ko, The Tenants Downstairs , Network Generation, Personality Identity

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也斯的七○年代香港新詩論述——以台灣現代詩檢討風潮為燭照

研究論文
Research Article

也斯的七○年代香港新詩論述——以台灣現代詩檢討風潮為燭照
Yesi’s Discourse of Hong Kong Poetry of the 1970s: In the Light of Modern Poetry Polemic of Taiwan

王家琪
Wong, Ka-Ki

摘要

      也斯一力開創了七○年代香港新詩的討論框架，主要集中在「生活化」新詩，而鮮有論及六、七○年代之交其他並存的詩觀和流派。當我們比較也斯對香港七○年代新詩的論述與當時的實際情況時，就能夠發現在也斯倡議「生活化」新詩之前香港詩壇已經有不少檢討和反省現代詩的聲音，但無論是當時還是後來，也斯反而更多地把眼光投向海峽的對岸，與台灣詩壇連結起來論述。本文首先概括了六、七○年代之交香港及台灣檢討現代詩的情況，提出也斯雖然同意新詩語言明朗化和面向現實，但對民族風格則敬而遠之，對「現實」內涵的理解也與現實主義陣營的作家不同。接著借助台灣對港、台共有的概念例如現代詩及寫實詩的研究，指出兩地對這些文學現象和概念的不同理解，並對照出也斯的七○年代香港新詩研究其中一些特別的論述操作，包括把「古典」元素排除在現代派的討論之外，否認「生活化」和現實主義的共通之處等等。由此本文提出「新古典」和「寫實」兩方面對修正現代詩都提出了至關重要的倡議，因此現代派的刊物譜系宜重新釐定，除了應該納入《詩風》之外，明朗詩（不限於也斯稱為「生活化」的詩）的源頭宜追溯至「詩作坊」以及《周報》之前的詩刊包括《70年代》、《秋螢》，以便把「詩作坊」以降現代詩受現實風潮影響的情況納入視野。而「生活化」必須與現實主義風潮互相參照，才能準確完整地說明「生活化」如何修正了現代主義。

關鍵詞：現代詩、新古典主義、現實主義、生活化、香港台灣新詩比較

Abstract

      The studies of Hong Kong Poetry of the 1970s mainly focus on the “Everydayness” poetry, a study frame that was mainly established by Yesi (Leung Ping-kwan) after 1980s. However, if we take a closer look at the situation back in the 1970s, we may find some missing puzzles in Yesi’s version of the history. As Yesi tended to established reference with the Taiwan poetry, conducting comparative study of Hong Kong and Taiwan poetry seems an appropriate way to examine the flaws in his literary discourse.

      This paper first summarizes the critical opinion of modern poetry of Hong Kong and Taiwan in the ‘60s and ‘70s, in which we may found Yesi’s rejection of the ethnicity deviated from the mainstream opinion. Then, in the light of the fruitful studies of modern poetry by Taiwan scholars, points out several concepts that Hong Kong and Taiwan share but have different context and meaning in them. Thus points out some problematic discursive acts by Yesi, including the exclusion of “Neo-Classicism” from modern poetry and the denial of the fact that “Everydayness” poetry and the realism poetry actually share some stylistic features. Future discussion of Hong Kong modern poetry should fill in those missing puzzles that Yesi did not cover.

Keywords: Modern poetry, Neo-Classicism, Realism, “Everyday-ness” poetry, Comparative study of Hong Kong andTaiwan Poetry

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香港劇場上的《將軍族》—— 致群劇社的陳映真小說改編

研究論文
Research Article


香港劇場上的《將軍族》——致群劇社的陳映真小說改編
“Generals” in Hong Kong Theater: The Translation of Chen Ying-Zhen’s Work by the Amity Drama Club

麥樂文
Mak, Lok-Man

摘要

        七○年代以降台灣文學對香港的影響力似乎日漸衰弱，鄉土文學運動的影響更被認為是「水過無痕」， 這種見解可能與香港文學與戲劇關係長期以來遭到忽視有關。成立於七○年代初的香港業餘劇團致群劇社曾於1981年上演張秉權改編之《將軍族》話劇，此前亦曾改編上演《鄉土形象：兒子的大玩偶、夜行貨車》（1978）。從台灣到香港的跨文類改編本來是兩地文藝的流動風景，大概因為原始資料散佚不全，一直未見討論。以中文大學畢業生為骨幹的致群劇社之成立，正值香港學運的「認中關社」（認識中國，關心社會）作為口號被提出之時，劇社的演出亦每每扣連學運、社運的脈搏。本文將細讀張秉權提供之《將軍族》劇本手稿，對照方方改編劇本和陳映真原著文本，討論香港劇場工作者在這樣的歷史脈絡下如何理解、改編並呈現原著小說，嘗試為台灣文學傳播至香港之進路提供另一參考點。

關鍵詞：陳映真、張秉權、致群劇社、香港文學、香港戲劇、文學改編

Abstract

        The influence of Taiwan literature over Hong Kong diminished gradually since 1970s. It’s even a mutual understanding that Taiwan’s “Hsiang-tu literature” of 1970s left no trace in Hong Kong. This paper suggests that such a saying omitted the buried relationship between literature and theater movement in Hong Kong. The Amity Drama Club found in early 1970s translated a series of “Hsiang-tu” fictions including Chen Ying-zhen‘s “Generals,” “Night Truck” and Hwang Chun-ming’s “His Son's Big Doll” etc and put them on show at the late 1970s. The Amity Drama Club was found in the atmosphere of the nationalist student movement upholding the slogan “knowing China and caring the society” since 1970s. Their shows harmonized with the rising of the movement. Illustrating those adaptations provides another perspective to investigate the interaction between the literary field of Taiwan and Hong Kong. Based on the manuscript “Generals” provided by the author CHEUNG Ping-kuen (one of the founders of the Club), this paper attempts to discuss how Chen Ying-zhen’s text “Generals” be interpreted in such a context of Hong Kong. A comparative framework is deployed to read into the text in details together with another script translated by Fong Fong and the original text of Chen Ying-zhen.

Keywords: Chen Ying-zhen, Cheung Ping-kuen, Hong Kong literature, Hong Kong drama, Literature adaptation

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林群盛科幻詩的星球書寫

研究論文
Research Article


林群盛科幻詩的星球書寫
The Planet in Lin Qun-Sheng’s Science Fiction Poetry

呂柏勳
Lu, Bou-Hsuen

摘要

        林群盛是台灣1987年後崛起的科幻詩人，突破陳克華、林燿德文學壁壘，形塑清新、柔軟的科幻風格。本文將從「星球」書寫作為切入點，探討林群盛以大量星球詞彙入詩所產生的科幻語境，其語言、修辭、結構、抒情等經營方式，並援引學者正反看法，重新評價他的詩作。林群盛以星球譬喻、擬人、擬物、意象主導，配以口白、動作、文字排列，熱鬧繽紛彷彿小王子的遊樂園，並加重了詩的抒情體驗。林群盛吸收日本動漫元素，利用星球時空搭建自我的微型宇宙，將自己藏在其中，對現實似乎極為不耐，反而耽溺於星球旋律與光芒，如同詩人追尋心中的美和摯愛，在幻想世界內對地球抱持熱切的依戀及柔性的關懷。

關鍵詞：林群盛、科幻詩、星球

Abstract

        Lin Qun-Sheng (林群盛) is a science fiction poet who became famous after 1987 in Taiwan. He broke through the literary barrier of Chen Ke-Hua (陳克華) and Lin Yao-De (林燿德), and shaped his fresh and soft styleof science fiction.

        This article investigates the “planet” writing style as a breakthrough point to observe how Lin Qun-Sheng (林群盛) incorporated variable terms into his poems to construct the science fiction context. In addition, his operation of language, rhetoric, structure and lyricism, as well as quotes
from positive and negative views of researchers are examined to reevaluate his poems.

        Lin Qun-Sheng’s (林群盛) use of planet metaphors and imagery leading via words, actions, and word arrangements, made his poems lively and colorful, similar to the worlds of the Little Prince, which enhanced the lyrical experiences of his poems.

        Lin Qun-Sheng (林群盛) absorbed elements of Japanese animation, and hid himself in his mini-universe constructed by planet space-time. It seems as though he was very intolerant of reality, but indulged in planet melody and light, just like the poetry looks for the beauty and love in his heart. Moreover, his work captures his enthusiastic love and soft care of the Earth in his fantastic world.

Keywords: Lin Qun-Sheng (林群盛), science fiction poetry, planet

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編輯室報告（第十一期）

        第十一期《台灣文學研究》學報，終於如期出版了，除了要感謝編輯人員的辛勞，也要對熱心研究寫作，不吝賜稿的研究學者，致上十二萬分的謝意。本期經過嚴格的審查，最終收入了四篇水準頗高的研究論文及一篇發自法國里昂第三大學漢學系的研究誌要，主題上有詩、小說改編劇本、網路文學，論及的作家地域上則橫跨台港、歐陸。

        麥樂文、王家琪都是出身香港的年輕學者，不管是麥樂文的〈香港劇場上的《將軍族》――致群劇社的陳映真小說改編〉還是王家琪的〈也斯的七○年代香港新詩論述――以台灣現代詩檢討風潮為燭照〉，他們論文討論的固然是香港文學，但所探討對象不是劇本改編自台灣作家陳映真的作品，就是以台灣現代詩檢討風潮為參照系，因而對七、八○年代台港文學互動關係之緊密，做出了重要的歷史見證。呂柏勳〈林群盛科幻詩的星球寫作〉一文，探討的是八○年代末崛起科幻詩人林群盛以星球喻人的詩創作特色；蔣興立的〈論《樓下的房客》裡的日常驚懼與網路世代的人格認同〉挖掘的則是網路作家九把刀的恐怖小說《樓下的房客》一書，屍體、死亡與暴力書寫中所潛藏的人性脆弱面，兩篇論文都能見前行研究所未見，翻新舊觀點。

        陳芳惠的「研究誌要」：〈翻譯作為方法：台灣小說與世界文學〉，則嘗試提出一個研究台灣文學新的切入點與方法學。以「○○作為方法」是台灣學界當前極為流行的方法學嘗試，由陳芳惠：「以世界文學的模式來分析台灣文學，期冀描述台灣文學中的跨文化維度，亦即從日本殖民時期開始台灣作家如何透過翻譯作品汲取養分書寫新型文體，進而發現自身創造自身的歷史」的思路來看，因為說法有相當的歷史基礎，應該是一條可行的，考察台灣文學歷史發展的研究新路徑。

        《台灣文學研究》學報在前主任鍾秀梅的努力下復刊繼續發行，第十一期的發行，宣示本學報已堂堂邁入第六個年頭，萬事起頭難，但面對種種困局，要能堅持下去更難，感謝秀梅主持學報時堅忍的毅力，也感謝為十一期的編務付出心力的每一位執行編輯的辛勞。（游勝冠）

台灣歌仔戲引用流行歌曲的途徑與發展原因

研究論文
Research Article


台灣歌仔戲引用流行歌曲的途徑與發展原因
The Use of Pop Songs in Taiwanese Opera: The Ways and the Stimuli

劉南芳
Liu, Nan-Fang

摘要

        1932年第一首台語流行歌〈桃花泣血記〉灌錄成唱片發行，當時的台灣流行歌曲習慣採用整齊規律的詞格和「分節歌」的形式，每一節的音樂旋律反覆，具有濃厚的民謠風味；當時台灣內台歌仔戲就會引用流行歌曲作為「新調」，與傳統曲調穿插著使用，這樣的情形一直持續到戰後，當演員演唱流行歌曲時會吸引商業劇場的觀眾，讓他們覺得新奇和有變化。

        戰後由於廣播歌仔戲、和電視歌仔戲蓬勃發展，對於新曲調的需求促使當代的流行歌曲持續被歌仔戲借用。另一方面大量新編劇目的產生，讓歌仔戲在音樂上也想追求新穎變化，流行歌曲的新奇感有助於演員的表演、並且受到觀眾歡迎；特別是在新編的「胡撇仔戲」當中，流行歌曲所占的篇幅日益擴大，幫助歌仔戲可以和其他的通俗娛樂展開競爭。台灣歌仔戲和流行音樂持續不斷地交流，讓流行歌曲的歌詞內容、或是歌曲意境都深入地融合在歌仔戲的表演之中。

        本文嘗試從日治時期的歌仔戲、戰後內台歌仔戲、及外台「胡撇仔戲」三個階段敘述台灣歌仔戲引用流行歌的情形，並分析歌仔戲與流行歌能夠互相交流的原因；包括演唱方法的相似有助於歌仔戲對於新歌曲的吸收；「活戲」的表演形式為流行音樂留下寬廣的發展空
間；以及大眾文化中的「商業性」要求促成了流行歌與戲劇表演的結合。

        從歌仔戲的發展歷史上來觀察，流行歌進入台灣歌仔戲的表演體系中是一種「必然」；經過了時間的演進，流行歌曲已經成為歌仔戲音樂中的「必要」。在台灣歌仔戲從「民間文化」過渡到「大眾文化」的歷程中，從吸收「民謠」到引進「流行歌曲」無疑是一個重要的特徵。

關鍵詞：歌仔戲、流行歌、胡撇仔戲、活戲、大眾文化

Abstract

        The first pop song in Taiwanese language, ‘The-hue-khip-hue-ki’(Weeping Peach Blossoms), was recorded and released in 1932. Duringthis period, it was common to apply a neat, regular form and a ‘couplet’ structure to Taiwanese pop songs. Melodies were repeated in every section, creating a strong folk music atmosphere. At that time, popular music was played in indoor Taiwanese operas as ‘new tunes,’ together with traditional opera music. This phenomenon continued into the post-war years as performing pop songs created a fresh and different look for Taiwanese opera, which became an attraction for audiences of commercial theatres.

        While Taiwanese opera in radio and television broadcasts developed prosperously in the post-war period, the need for new tunes enhanced the use of popular music in Taiwanese opera. Moreover, the growing production of new repertoires encouraged the pursuit of innovative changes in Taiwanese opera music. The freshness of pop songs inspired actors in their performances and was welcomed by audiences. In particular, pop songs were increasingly applied in the new creation ‘O-peila-hi,’ which contributed to the competitiveness of Taiwanese opera among all popular forms of entertainment. The continuous interchange between Taiwanese opera and popular music made the content of pop song lyrics or the mood of the songs deeply integrated into Taiwanese opera performances.

        This article intends to demonstrate the phenomenon of employing pop songs in Taiwanese opera in three stages: 1) Taiwanese opera in the Japanese colonial period; 2) indoor Taiwanese opera in the post-war years; and, 3) outdoor ‘O-pei-la-hi.’ In addition, factors that motivated the interchange between Taiwanese opera ad pop songs are analyzed. Such factors include the following three aspects: first, a similarity of singing methods aided the incorporation of new songs into Taiwanese opera; second, ‘improvised performance’ opened new opportunities for the development of popular music; and third, the demand for ‘commerciality’ within mass culture promoted the connection between pop songs and theatrical performances.

        From the perspective of the evolution of Taiwanese opera, it can be observed that it was ‘inevitable’ that pop songs would be integrated into Taiwanese opera performances, and as time passed, pop songs became ‘indispensable’ for Taiwanese opera music. It is no doubt a significant
feature that Taiwanese opera underwent a change from absorbing folk music to applying pop songs in the transition from a folk culture to a mass culture.

Keywords: Taiwanese opera, pop songs, O-pei-la-hi, improvised performance, mass culture

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