論壇：新興人文社會學科的建制化與發展
Forum : The Institutionalization and Development of Emerging Humanities and Social Sciences
從文化批判到文化研究的教育：嶺大文研的道路
From Cultural Criticism to Cultural Studies Education: The Development
of Cultural Studies in Lingnan University
羅永生
Law, Wing-sang
檢視全文
2012年10月2日 星期二
台灣客家系所的創立、挑戰與前景
論壇：新興人文社會學科的建制化與發展
Forum : The Institutionalization and Development of Emerging Humanities and Social Sciences
台灣客家系所的創立、挑戰與前景
Establishment, Challenges, and Foreground of the Institutes of Hakka
Studies in Taiwan
吳中杰
Wu, Chung-chieh
檢視全文
Forum : The Institutionalization and Development of Emerging Humanities and Social Sciences
台灣客家系所的創立、挑戰與前景
Establishment, Challenges, and Foreground of the Institutes of Hakka
Studies in Taiwan
吳中杰
Wu, Chung-chieh
檢視全文
性別研究建制十年：回顧與前瞻
論壇：新興人文社會學科的建制化與發展
Forum : The Institutionalization and Development of Emerging Humanities and Social Sciences
性別研究建制十年：回顧與前瞻
Ten Years in Institutional Building of Gender Studies: Looking Back and Forward
成令方
Cheng, Ling-fang
檢視全文
Forum : The Institutionalization and Development of Emerging Humanities and Social Sciences
性別研究建制十年：回顧與前瞻
Ten Years in Institutional Building of Gender Studies: Looking Back and Forward
成令方
Cheng, Ling-fang
檢視全文
新世紀台灣文學系所面臨的挑戰
論壇：新興人文社會學科的建制化與發展
Forum : The Institutionalization and Development of Emerging Humanities and Social Sciences
新世紀台灣文學系所面臨的挑戰
New Challenges for Taiwan Literary Studies in the New Age
邱貴芬
Chiu, Kuei-fen
檢視全文
Forum : The Institutionalization and Development of Emerging Humanities and Social Sciences
新世紀台灣文學系所面臨的挑戰
New Challenges for Taiwan Literary Studies in the New Age
邱貴芬
Chiu, Kuei-fen
檢視全文
台灣文學的體制化、學科化與正常化：二十年來的課題與省思
論壇：新興人文社會學科的建制化與發展
Forum : The Institutionalization and Development of Emerging Humanities and Social Sciences
台灣文學的體制化、學科化與正常化：二十年來的課題與省思
The Institutionalization and Normalization of Taiwanese Literature:
Questions and Reflections in the Last Twenty Years
陳萬益
Chen, Wan-yi
檢視全文
Forum : The Institutionalization and Development of Emerging Humanities and Social Sciences
台灣文學的體制化、學科化與正常化：二十年來的課題與省思
The Institutionalization and Normalization of Taiwanese Literature:
Questions and Reflections in the Last Twenty Years
陳萬益
Chen, Wan-yi
檢視全文
2012年9月3日 星期一
台灣後現代詩觀察：夏宇及其後的新一代書寫
台灣後現代詩觀察：
夏宇及其後的新一代書寫
Observation of Postmodern Poetry in Taiwan:
Writings of Hsia Yu and the New Generation
翁文嫻
Yung, Man-han
摘要
本文探研自夏宇之後，台灣近十年來，年輕一代的詩語言狀態。論文先從台灣詩壇的後現代論述回顧，例如：深具影響的孟樊及簡政珍二位之著作，再自這些學術基礎上，進一步探研後現代詩語言的面貌。討論的詩人為六○年代之後出生，葉覓覓、劉亮延、魚果、駱以軍、廖梅璇等。據其語言的方向與突破點，有來自夏宇影響，或有另外來源、想法的，疏理其語言形式洩露的社會文化訊息。另外，夏宇本人的詩集及其編輯理念，如新的一本完全透明、可浸泡在水中的詩集《粉紅色噪音》，及《現在詩》第2期「來稿必登」，亦一直帶領著一種新的後現代詩之風景。在台灣這片既有漢文化又深受世界詩潮鼓盪的土地上，如何在世界後現代既有論述中新增內容？亦為本文待處理的理論線索。
關鍵詞：後現代詩、夏宇、劉亮延、魚果、駱以軍
Abstract
This paper discusses the poetic language of the younger generation over the past ten years, in the wake of Hsia Yu. The paper reviews the postmodern discourse in Taiwanese poetry, such as the influential works of Meng Fan and Chien Chengchen, with a specific focus on the language used. The poets discussed were all born in the 1970s, such as Yeh Mimi, Liu Liangyen, Yu Kuo, Lo Yichun, and Liao Meihsuan. Based on their use of language and innovations, some of them were affected by Hsia Yu, while others were influenced by other writers and ideas. The social and culture messages in these works are revealed by their innovative use of language. The poetry and the editorial philosophy of Hsia Yu lead to a new scene of postmodern poetry, such as the works Pink Noise and Poetry Now. This essay also attempts to discuss how it tries to make an innovative theory on Taiwanese poetry, more than its basic sources both from classical Chinese poetics and modern western theories, in particular post-modernism.
Keywords: postmodern poetry, Hsia Yu, Liu Liangyen, Yu Kuo, Lo Yichun
檢視全文
夏宇及其後的新一代書寫
Observation of Postmodern Poetry in Taiwan:
Writings of Hsia Yu and the New Generation
翁文嫻
Yung, Man-han
摘要
本文探研自夏宇之後，台灣近十年來，年輕一代的詩語言狀態。論文先從台灣詩壇的後現代論述回顧，例如：深具影響的孟樊及簡政珍二位之著作，再自這些學術基礎上，進一步探研後現代詩語言的面貌。討論的詩人為六○年代之後出生，葉覓覓、劉亮延、魚果、駱以軍、廖梅璇等。據其語言的方向與突破點，有來自夏宇影響，或有另外來源、想法的，疏理其語言形式洩露的社會文化訊息。另外，夏宇本人的詩集及其編輯理念，如新的一本完全透明、可浸泡在水中的詩集《粉紅色噪音》，及《現在詩》第2期「來稿必登」，亦一直帶領著一種新的後現代詩之風景。在台灣這片既有漢文化又深受世界詩潮鼓盪的土地上，如何在世界後現代既有論述中新增內容？亦為本文待處理的理論線索。
關鍵詞：後現代詩、夏宇、劉亮延、魚果、駱以軍
Abstract
This paper discusses the poetic language of the younger generation over the past ten years, in the wake of Hsia Yu. The paper reviews the postmodern discourse in Taiwanese poetry, such as the influential works of Meng Fan and Chien Chengchen, with a specific focus on the language used. The poets discussed were all born in the 1970s, such as Yeh Mimi, Liu Liangyen, Yu Kuo, Lo Yichun, and Liao Meihsuan. Based on their use of language and innovations, some of them were affected by Hsia Yu, while others were influenced by other writers and ideas. The social and culture messages in these works are revealed by their innovative use of language. The poetry and the editorial philosophy of Hsia Yu lead to a new scene of postmodern poetry, such as the works Pink Noise and Poetry Now. This essay also attempts to discuss how it tries to make an innovative theory on Taiwanese poetry, more than its basic sources both from classical Chinese poetics and modern western theories, in particular post-modernism.
Keywords: postmodern poetry, Hsia Yu, Liu Liangyen, Yu Kuo, Lo Yichun
檢視全文
游牧的時間：夏曼．藍波安關於海浪的記憶
游牧的時間：
夏曼．藍波安關於海浪的記憶
The Nomadic Time :
On Syaman Rampoan’s Memories of the Sea
李育霖
Lee, Yu-lin
摘要
本文以時間的向度切入閱讀夏曼．藍波安關於海洋的書寫。回憶支配了夏曼的書寫，其寫作明顯地被某種雙重的時間攫住。同時，作者將自身及其作品的角色刻畫為「游牧者」，建構了特殊的文本結構與主體構成。本文將主要闡明此一游牧運動所展現的時間通道。本文認為，作者的書寫創造一個過去與當下交會的時分，透過回憶或說故事，過去被帶到當下，兩者並構成如影像般的效用表面，讀者因此目睹時間自我演化的幻影，而作者及其作品中的主角，則在其重複的運動中標定了個人與集體的歷史性；將自身開放，形構一個前個人、並與自然宇宙共振的生存領域。從這一角度看，夏曼的書寫並非僅僅再現了蘭嶼千年的歷史與傳統，相反地，在此一時間的辯證運動中，個人與集體的時間性重新被生產，書寫本身同時見證一個屬於當下的永恆。
關鍵詞：夏曼．藍波安、台灣原住民書寫、游牧、記憶、歷史、自然書寫
Abstract
This paper looks into the composition of time in Syaman Rampoan’s writing on the sea. It is well known that memory dominates Syaman’s writing so that his works are heavily haunted by the past. More significantly, Syaman constantly characterizes himself and the protagonists of his works as “the nomad,” which in turn constitutes a unique narrative structure and subjectivity. This paper pinpoints this particular aesthetics exhibited by the nomad, arguing that the author through his writing creates a time passage where the past and
the present converge; it also produces an effect surface where time displays itself as phantasm of history. In other words, the author and his protagonists are engaged in a repetitive movement by which the self is open to a preindividual existential territory corresponding to the natural environment. Seen in this light, Syman’s memories of the sea should not simply be considered as re-presentation of the cultural tradition of his tribe, but rather singularization of an individual and re-production of collectivity.
Keywords: Syaman Rampoan, Taiwan aboriginal literature, nomad, memory, history, nature writing
檢視全文
夏曼．藍波安關於海浪的記憶
The Nomadic Time :
On Syaman Rampoan’s Memories of the Sea
李育霖
Lee, Yu-lin
摘要
本文以時間的向度切入閱讀夏曼．藍波安關於海洋的書寫。回憶支配了夏曼的書寫，其寫作明顯地被某種雙重的時間攫住。同時，作者將自身及其作品的角色刻畫為「游牧者」，建構了特殊的文本結構與主體構成。本文將主要闡明此一游牧運動所展現的時間通道。本文認為，作者的書寫創造一個過去與當下交會的時分，透過回憶或說故事，過去被帶到當下，兩者並構成如影像般的效用表面，讀者因此目睹時間自我演化的幻影，而作者及其作品中的主角，則在其重複的運動中標定了個人與集體的歷史性；將自身開放，形構一個前個人、並與自然宇宙共振的生存領域。從這一角度看，夏曼的書寫並非僅僅再現了蘭嶼千年的歷史與傳統，相反地，在此一時間的辯證運動中，個人與集體的時間性重新被生產，書寫本身同時見證一個屬於當下的永恆。
關鍵詞：夏曼．藍波安、台灣原住民書寫、游牧、記憶、歷史、自然書寫
Abstract
This paper looks into the composition of time in Syaman Rampoan’s writing on the sea. It is well known that memory dominates Syaman’s writing so that his works are heavily haunted by the past. More significantly, Syaman constantly characterizes himself and the protagonists of his works as “the nomad,” which in turn constitutes a unique narrative structure and subjectivity. This paper pinpoints this particular aesthetics exhibited by the nomad, arguing that the author through his writing creates a time passage where the past and
the present converge; it also produces an effect surface where time displays itself as phantasm of history. In other words, the author and his protagonists are engaged in a repetitive movement by which the self is open to a preindividual existential territory corresponding to the natural environment. Seen in this light, Syman’s memories of the sea should not simply be considered as re-presentation of the cultural tradition of his tribe, but rather singularization of an individual and re-production of collectivity.
Keywords: Syaman Rampoan, Taiwan aboriginal literature, nomad, memory, history, nature writing
檢視全文
天花板下的旅人：尋找黃國峻
天花板下的旅人：
尋找黃國峻
The Traveler under the Ceiling:
In Search of Huang Guojun
陳麗芬
Chen, Li-fen
摘要
在這樣一個凸顯問題意識，並將「問題」置於一個國族認同、文化身分、性別、階級等等的理念框架鋪演的時代裡，一個自處於精神上家國以外的年輕作家選擇以自絕的方式告別人間，體現個人意志，帶給我們的是莫大的震撼。每一個自殺的悲劇似乎都在提醒我們，在這政治意識形態高揚的社會裡，那暫時被我們壓抑，甚至遺忘的最基本的生存課題。於是一個出自於最為個人隱私層面的擧動，有時卻產生了最能震撼公共領域的效應。就黃國峻的例子而言，不論是媒體或是評論界，在嘗試理解他為何自殺時，都有一個極為明顯的將之既浪漫化但又病態化的傾向。再加上他身為黃春明兒子的特殊身分，論者總是喜歡把這對父子拿來作比較。相對於黃春明的鄉土、現實、入世，黃國峻是憂鬱的、自閉的、不食人間煙火的。不僅如此，這個對比形象亦不時延伸到人們對相隔四十年的兩代作家之間的識別。在一些對台灣當代小說傳承代換上的解讀中，黃春明所代表的「父輩」是書寫歷史、社會大論述的一代，「子輩」的黃國峻一代則是耽溺於私密主體的內向世代。本文並不同意這個由「大說」演進到「小說」的文學史觀。本文一方面透過對黃國峻小說的細讀，以探索這個年輕作家一種近乎儀式性的虛構模式與敘事法則，由此領會他在創作上的終極寄託。另一方面，也想藉此閱讀方式，檢視他的小說藝術在當代台灣文學的位置與重要性。本文試圖瞭解在這近十幾年來台灣小說發展的脈絡下，黃國峻其人其作所可能代表的意義。
關鍵詞：黃國峻、說故事者
Abstract
In a politically conscious literary climate that is obsessed with questions of cultural identity, gender and class, Huang Guojun is an anomaly. His self-inflicted death in 2003 at the age of thirty-two sent a shock wave to Taiwan’s literary community, causing a great deal of speculation. The fact that he was the son of Huang Chunming, the famed champion of Taiwan’s “Xiangtu wenxue” (nativist literature) in the 1960-70s, has undoubtedly contributed, to no small degree, to the enormous attention his suicide has received. The award-winning yet little known young writer soon became the focus of discussion in the media as well as in the academia. He was most often contrasted with a father who had long been made titanesque by theTaiwanese literary historians. Contrary to the father’s celebrated social satires, his work was considered as individualistic and unintelligible. This father-son comparison was even expanded to a critical discourse that tried to distinguish between two literary generations in terms of what counts as “experience.” My article questions this construction of a literary history in which a society vs. self, grand narrative vs. “little narrative” ( petit récit ) dialectic is clearly discernible. By closely reading the corpus of Huang Guojun’s work, the article presents a profile of a seemingly secluded young man as a self-made public “storyteller,” with the hope toyield some new understanding of this important writer. It is finally an attempt to position this much talked-about but little-understood writer and to assess his literary significance in the context of the recent development Taiwanese fiction.
Keywords: Huang Guojun, the storyteller
檢視全文
尋找黃國峻
The Traveler under the Ceiling:
In Search of Huang Guojun
陳麗芬
Chen, Li-fen
摘要
在這樣一個凸顯問題意識，並將「問題」置於一個國族認同、文化身分、性別、階級等等的理念框架鋪演的時代裡，一個自處於精神上家國以外的年輕作家選擇以自絕的方式告別人間，體現個人意志，帶給我們的是莫大的震撼。每一個自殺的悲劇似乎都在提醒我們，在這政治意識形態高揚的社會裡，那暫時被我們壓抑，甚至遺忘的最基本的生存課題。於是一個出自於最為個人隱私層面的擧動，有時卻產生了最能震撼公共領域的效應。就黃國峻的例子而言，不論是媒體或是評論界，在嘗試理解他為何自殺時，都有一個極為明顯的將之既浪漫化但又病態化的傾向。再加上他身為黃春明兒子的特殊身分，論者總是喜歡把這對父子拿來作比較。相對於黃春明的鄉土、現實、入世，黃國峻是憂鬱的、自閉的、不食人間煙火的。不僅如此，這個對比形象亦不時延伸到人們對相隔四十年的兩代作家之間的識別。在一些對台灣當代小說傳承代換上的解讀中，黃春明所代表的「父輩」是書寫歷史、社會大論述的一代，「子輩」的黃國峻一代則是耽溺於私密主體的內向世代。本文並不同意這個由「大說」演進到「小說」的文學史觀。本文一方面透過對黃國峻小說的細讀，以探索這個年輕作家一種近乎儀式性的虛構模式與敘事法則，由此領會他在創作上的終極寄託。另一方面，也想藉此閱讀方式，檢視他的小說藝術在當代台灣文學的位置與重要性。本文試圖瞭解在這近十幾年來台灣小說發展的脈絡下，黃國峻其人其作所可能代表的意義。
關鍵詞：黃國峻、說故事者
Abstract
In a politically conscious literary climate that is obsessed with questions of cultural identity, gender and class, Huang Guojun is an anomaly. His self-inflicted death in 2003 at the age of thirty-two sent a shock wave to Taiwan’s literary community, causing a great deal of speculation. The fact that he was the son of Huang Chunming, the famed champion of Taiwan’s “Xiangtu wenxue” (nativist literature) in the 1960-70s, has undoubtedly contributed, to no small degree, to the enormous attention his suicide has received. The award-winning yet little known young writer soon became the focus of discussion in the media as well as in the academia. He was most often contrasted with a father who had long been made titanesque by theTaiwanese literary historians. Contrary to the father’s celebrated social satires, his work was considered as individualistic and unintelligible. This father-son comparison was even expanded to a critical discourse that tried to distinguish between two literary generations in terms of what counts as “experience.” My article questions this construction of a literary history in which a society vs. self, grand narrative vs. “little narrative” ( petit récit ) dialectic is clearly discernible. By closely reading the corpus of Huang Guojun’s work, the article presents a profile of a seemingly secluded young man as a self-made public “storyteller,” with the hope toyield some new understanding of this important writer. It is finally an attempt to position this much talked-about but little-understood writer and to assess his literary significance in the context of the recent development Taiwanese fiction.
Keywords: Huang Guojun, the storyteller
檢視全文
滿洲內在化與島都書寫：林煇焜《命運難違》的滿洲匿影及其潛話語
滿洲內在化與島都書寫：
林煇焜《命運難違》的滿洲匿影及其潛話語
The Internalization of Manchuria and Urban Writing:
The Hidden Shadow of Manchuria and its Latent Discourse in Lin Huikun’s
Inviolable Destiny
柳書琴
Liu, Shu-chin
摘要
筆者認為，台北是在一邊朝島內最大都市更新的進程中，一邊飛躍性地成為日本帝國境內的東亞節點都市；而讓滿洲事變進入民眾生活領域，亦即把滿洲內在化，便是這進程中的重要環節。本文從《臺灣日日新報》上的滿洲事變、滿洲事變周年記念日活動報導入手，觀察與台灣關係微薄的滿洲事變如何成為台灣人日常生活訊息乃至身體經驗的一部分。接著，探討林煇焜怎樣將滿洲事變背景化，以輕描淡寫的方式將它匿置於《命運難違》此一台灣首部長篇都市小說之最底層。最後，比對這部報紙連載小說與《臺灣新民報》社論的共同點，指出作者透由時事描寫和報紙社論議題進行暗合的意圖。在事變報導／都市書寫／殖民政策批判的關聯性中，總結這種敘事模式隱含的潛話語。
關鍵詞：滿洲事變、滿洲事變記念日、台北、都市小說、林煇焜、《命運難違》、《臺灣日日新報》、《臺灣新民報》
Abstract
In the 1930s, Taipei was in the process of carrying out the largest urban renewal project in Taiwan, and rapidly becoming an important location in the Japanese empire. Meanwhile, making the Manchurian Incident part of people’s lives, an thus internalizing Manchuria, was an important part of this process. This study begins with various reports on the Manchurian Incident and the memorial events on its anniversary in the Taiwan Daily Newspaper, observing how the incident, which was only slightly related to Taiwan, became part of local people’s lives. It also explores how Lin Huikun turned the Manchurian Incident into part of the background of Inviolable Destiny, Taiwan’s first long work of urban fiction. Finally, by comparing the common points in this serialized story that appeared in a newspaper and the editorials in the Taiwan New People Newspaper, this study examines the writer’s attempt to implicitly consider the issues discussed in the editorials through the description of current events in this novel. This study then examines the implicit latent discourse in this mode of narrative through the relations among reports of the Manchurian Incident, urban writing, and critiques of colonial policy.
Keywords: Manchurian Incident, memorial events, Taipei, urban fiction, Lin Huikun, Inviolable Destiny, Taiwan Daily Newspaper, Taiwan New People Newspaper
檢視全文
林煇焜《命運難違》的滿洲匿影及其潛話語
The Internalization of Manchuria and Urban Writing:
The Hidden Shadow of Manchuria and its Latent Discourse in Lin Huikun’s
Inviolable Destiny
柳書琴
Liu, Shu-chin
摘要
筆者認為，台北是在一邊朝島內最大都市更新的進程中，一邊飛躍性地成為日本帝國境內的東亞節點都市；而讓滿洲事變進入民眾生活領域，亦即把滿洲內在化，便是這進程中的重要環節。本文從《臺灣日日新報》上的滿洲事變、滿洲事變周年記念日活動報導入手，觀察與台灣關係微薄的滿洲事變如何成為台灣人日常生活訊息乃至身體經驗的一部分。接著，探討林煇焜怎樣將滿洲事變背景化，以輕描淡寫的方式將它匿置於《命運難違》此一台灣首部長篇都市小說之最底層。最後，比對這部報紙連載小說與《臺灣新民報》社論的共同點，指出作者透由時事描寫和報紙社論議題進行暗合的意圖。在事變報導／都市書寫／殖民政策批判的關聯性中，總結這種敘事模式隱含的潛話語。
關鍵詞：滿洲事變、滿洲事變記念日、台北、都市小說、林煇焜、《命運難違》、《臺灣日日新報》、《臺灣新民報》
Abstract
In the 1930s, Taipei was in the process of carrying out the largest urban renewal project in Taiwan, and rapidly becoming an important location in the Japanese empire. Meanwhile, making the Manchurian Incident part of people’s lives, an thus internalizing Manchuria, was an important part of this process. This study begins with various reports on the Manchurian Incident and the memorial events on its anniversary in the Taiwan Daily Newspaper, observing how the incident, which was only slightly related to Taiwan, became part of local people’s lives. It also explores how Lin Huikun turned the Manchurian Incident into part of the background of Inviolable Destiny, Taiwan’s first long work of urban fiction. Finally, by comparing the common points in this serialized story that appeared in a newspaper and the editorials in the Taiwan New People Newspaper, this study examines the writer’s attempt to implicitly consider the issues discussed in the editorials through the description of current events in this novel. This study then examines the implicit latent discourse in this mode of narrative through the relations among reports of the Manchurian Incident, urban writing, and critiques of colonial policy.
Keywords: Manchurian Incident, memorial events, Taipei, urban fiction, Lin Huikun, Inviolable Destiny, Taiwan Daily Newspaper, Taiwan New People Newspaper
檢視全文
帝國的審美與觀視：論台灣八景言說的建構及其美學意識型態
帝國的審美與觀視：
論台灣八景言說的建構及其美學意識型態
The Aesthetic Appreciation and Aspects of Empire:
The Literary Construct of the Eight Scenic Views of Taiwan and its Aesthetic
Ideology
申惠豐
Shin, Hui-feng
摘要
本文透過對台灣八景詩（大八景）的分析，論述清領前期台灣的仕宦與文人如何透過八景言說的建構，掌握台灣這塊位處邊陲帝國的新附之地；本文試圖透過空間分析的方法論，論述這些仕宦文人如何透過賞景此一關於美的觀視，解決身處異地所產生的主體認同問題。本文認為，這些仕宦與文人的八景言說建構中，存在著大量的帝國修辭，他們透過召喚歷史、文化記憶，透過轉喻、透過一種筆者稱之為帝國美學架構的修辭實踐，轉化台灣的空間屬性，創造了一個新的台灣空間形貌與歷史，目的是為了將台灣加入帝國的想像共同體之中。
關鍵詞：台灣八景、空間、地方、認同、地景
Abstract
By analyzing a poem lauding the eight scenic views of Taiwan (the greater eight views), we attempt to explain how the bureaucrats and literati of Taiwan, during the early period of the Qing Dynasty’s rule, and through the literary construct of the eight scenic views of Taiwan, controlled the new addition to the frontier of the empire, that is, Taiwan. In this study, using the spatial analysis method, we discuss how these bureaucrats and literati resolved their subjective identification issues resulting from being in a foreign land through the beauty of scenic views. We contend that the literary construct of the eight scenic views, upheld by these bureaucrats and literati, comprised a significant amount of imperial rhetoric. By referencing historical and cultural memories, transforming metaphors, and implementing rhetoric under what was called an “imperialistic aesthetic framework” by the author, they transformed the spatial attributes of Taiwan, creating a new spatial form and history. The purpose of this framework was to integrate Taiwan into the imagined community of the
empire.
Keywords: Eight scenic views of Taiwan, space, location, identity,
landscape
檢視全文
論台灣八景言說的建構及其美學意識型態
The Aesthetic Appreciation and Aspects of Empire:
The Literary Construct of the Eight Scenic Views of Taiwan and its Aesthetic
Ideology
申惠豐
Shin, Hui-feng
摘要
本文透過對台灣八景詩（大八景）的分析，論述清領前期台灣的仕宦與文人如何透過八景言說的建構，掌握台灣這塊位處邊陲帝國的新附之地；本文試圖透過空間分析的方法論，論述這些仕宦文人如何透過賞景此一關於美的觀視，解決身處異地所產生的主體認同問題。本文認為，這些仕宦與文人的八景言說建構中，存在著大量的帝國修辭，他們透過召喚歷史、文化記憶，透過轉喻、透過一種筆者稱之為帝國美學架構的修辭實踐，轉化台灣的空間屬性，創造了一個新的台灣空間形貌與歷史，目的是為了將台灣加入帝國的想像共同體之中。
關鍵詞：台灣八景、空間、地方、認同、地景
Abstract
By analyzing a poem lauding the eight scenic views of Taiwan (the greater eight views), we attempt to explain how the bureaucrats and literati of Taiwan, during the early period of the Qing Dynasty’s rule, and through the literary construct of the eight scenic views of Taiwan, controlled the new addition to the frontier of the empire, that is, Taiwan. In this study, using the spatial analysis method, we discuss how these bureaucrats and literati resolved their subjective identification issues resulting from being in a foreign land through the beauty of scenic views. We contend that the literary construct of the eight scenic views, upheld by these bureaucrats and literati, comprised a significant amount of imperial rhetoric. By referencing historical and cultural memories, transforming metaphors, and implementing rhetoric under what was called an “imperialistic aesthetic framework” by the author, they transformed the spatial attributes of Taiwan, creating a new spatial form and history. The purpose of this framework was to integrate Taiwan into the imagined community of the
empire.
Keywords: Eight scenic views of Taiwan, space, location, identity,
landscape
檢視全文
2012年5月21日 星期一
成功大學台灣文學系《台灣文學研究》稿約
成功大學台灣文學系《台灣文學研究》稿約
一、本刊之創立，以提昇台灣文學研究風氣，開展文學研究視野，促進國內外學術交流為目 的。
二、本刊園地公開，歡迎海內外學者惠賜與台灣文學相關的學術研究論文或評論。每次投稿每人以一篇為限，請勿同時投遞國內外其他期刊、專書、網路、研討會論文集。
具原創性研究成果之正式學術論（約15000到25000 字）。
對特定研究構想的系統性討論、或研究資料的初步分析或具創意性討論，具有開發特定議題或引發概念討論之重要性的論文約15000字）。
就國內外台灣文學和文化領域相關學術專書所撰寫之評論（約3000字）。
對特定議題學術文獻之綜合評論（約 10000至12000字）。
台灣文學相關學術活動之描述性或評論性報導（約1000至2000字）。
論文撰寫體例
論文撰寫體例
一、正文
(一) 字體
中文採新細明體，必要之引述採標楷體；英文、數字採Time New Romans。
中文採新細明體，必要之引述採標楷體；英文、數字採Time New Romans。
(二) 字級
正文為12級字之新細明體；註釋10級字，置於該頁下方。
（三）編次
章節之標題必編序號，依序採下列次序：「一、（一）、1、（1）、a、（a）……等」；英文標題採「Ⅰ. A. (A). 1. (1). a . (a) ……等」。
（四）符號
1.採用新式全形標點符號，。、；：！？等，破折號為—。
2.引文符號採「」；引文中之引文採『』。 圖書、期刊名稱採《》；論文、篇名及詩名採〈〉。在行文中，篇名和書名連用時，省略篇名號，例《台灣通史‧藝文誌》
3.英文書名採斜體，篇名採“ ”。
4.日文譯成中文時，行文時一併改用中文新式標點符號。
（五）分段
1.每段首行空兩個全形字。
2. 直接引語另起一段時，每行開頭均空三個全型字。
3. 引文段落前後各空一行。
1.每段首行空兩個全形字。
2. 直接引語另起一段時，每行開頭均空三個全型字。
3. 引文段落前後各空一行。
(六) 附加原文
來稿若以中文撰寫，引用外國人名、著作、地名、政府機關、社團組織等專有名詞時，若使用中文譯名，應於首次出現時使用圓括號（）附註原文，若有簡稱應加上全形逗點後再附於其後。
(七) 行文中的年代一律採阿拉伯數字，其後以括號附註西元時間，例：昭和13（1938）。若提及年代為世代、年代則用國字表示，例：十八世紀、三○年代。
二、註釋、引用
(一) 註解整句，則標註於句末標點符號之後；獨立引文時亦標註於標點之後。
(二) 首次徵引
1.專書
（1）作者，《書名》（出版地：出版者，出版年月），頁數。
（2）作者，〈篇名〉，編者，《書名》（出版地：出版者，出版年月），頁數。
2.論文
（1）期刊論文：作者，〈篇名〉，《期刊名稱》卷期（年月），頁數。
（2）學位論文：作者，〈論文名稱〉（出版地：畢業學校／系(全名)／碩【博】士論文，出版年）。
（3）研討會論文：作者，〈論文名稱〉，「研討會議名稱」論文（主辦單位(全名)所名稱，研討會日期）。
3.報紙文章：作者，〈作品名稱〉，《報紙名稱》，發表日期，版次。
4.電子媒體：作者，〈作品名稱〉，（來源：網址，發表日期）。
（三）再次徵引：同出處連續出現時：同註○，頁數。
（四）當頁註及參考資料標明出版社時，一律需標明出版社全名，博碩士論文之校與
系所名亦同標示全名。
系所名亦同標示全名。
（五）引文有節略而必須標明時，不論長短，概以節略號六點……表示；英文句中三
點…，句末六點。當引文原文有誤時，應附加(原誤)。
點…，句末六點。當引文原文有誤時，應附加(原誤)。
三、參考資料
（一）內容首分中、西文；中文在前，西文在後，並按姓氏筆畫或字母順序編列。
（二）引用之參考資料與上首次及基本徵引格式同
（三）排列先後如下：
1.專書
2.論文
3.報紙文章
4.電子媒體
（四）西文資料寫法如下：
1.專書
（四）西文資料寫法如下：
1.專書
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans. Alan
Sheridan. ( New York: Vintage Books, 1979.)
2.論文
2.論文
Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov,”
Illuminations. Trans. Harry Zohn. Ed. Hannah Arendt. (New York: Schocken Books,
1968), pp. 83-110.
Ickstadt, Heinz. “American Studies in an Age of Globalization,”
American Quarterly, 54.4 (December 2002): 543-562.
四、圖片
(一)必須在正文中有所陳述。
(二)配合正文加以編號，如「圖一」、「圖二」……，並將圖號分別置於圖板下方。說明置於圖版編號之後。
五、表格
(一)在正文中有所陳述，並輔助文章時使用。
(二)表格配合正文加以編號，如「表1」、「表2」 ，並將編號分別置於表上方。說明置於表格編號之後。
六、附錄
置於正文之後，參考資料之前。
七、其他
(一) 正文中「臺、台」字統一以「台」字義示，書籍刊物名稱等專有名詞則不在此限。
(二) 英文稿件請依Havard Journal of Asiatic Studies 之最新格式處理。
(三) 來稿請勿發生侵害第三人權利之情事，稿件中涉及版權部分(圖片、引文等)，請先徵得原作者或出版者之同意，如有抄襲、重製或侵害等情形發生，概由投稿著作者負法律責任。
(二) 英文稿件請依Havard Journal of Asiatic Studies 之最新格式處理。
(三) 來稿請勿發生侵害第三人權利之情事，稿件中涉及版權部分(圖片、引文等)，請先徵得原作者或出版者之同意，如有抄襲、重製或侵害等情形發生，概由投稿著作者負法律責任。
2012年4月1日 星期日
相聚、離開、沉默、流浪—— 閱讀蘇偉貞的「眷村四部曲」
相聚、離開、沉默、流浪
—— 閱讀蘇偉貞的「眷村四部曲」
Community, Separation, Silence, and the Vagrant Life:
Reading Su-Wei-Zhan
趙慶華
Jaw, Ching-hwa
摘要
數十年來，隨著歷史條件與政治結構的改變，眷村的形貌、生態、意義均歷經了極大的轉折，與此同時，眷村住民在台灣社會的現實處境也有所不同，從而影響他們觀看眷村內部與村外世界的眼光，以及關於「我（們）是誰？」的思索。據此，本文聚焦於蘇偉貞的《有緣千里》、《離開同方》、《沉默之島》、《時光隊伍》等四部作品，考察一位出身、成長於眷村的外省第二代作家，面對眷村的變化與消解，如何描摹與其具有相近感知結構的一群人的認同、記憶和情感。透過小說，蘇偉貞清晰地舖展了五、六十年來眷村住民在台灣的生活樣態與精神圖像；在此同時，這些作品也讓我們理解：隱身眷村舞台幕後的黨國機制與國家統馭力量，是如何強固地影響了眷村住民的思維意識與認同指向。
關鍵詞：蘇偉貞、眷村、《有緣千里》、《離開同方》、《沉默之島》、《時光隊伍》、認同
Abstract
Over the past few decades, changes in the historical condition and in the political structure of Taiwan has greatly transformed the appearance, life style and inner-meaning of the Mainland Veteran Villages. The social position of Village residents in Taiwanese society has also changed. These changes not only significantly altered the ways the residents perceive the world within and without the Mainland Veteran Villages, but also affect their reflections towards themselves both as a community and as individuals.
This essay focuses on four novels by Su-Wei-Zhan “You- yuan- qian- li”(有緣千里), Leaving Tong-fang”(離開同方), “The silent island”(沉默之島) and “The line of the time”(時光隊伍) , as a means of exploring how this particular writer, a second generation member of a Mainland Veteran Village, describes the identity, memories and even affection of those who shared similar experiences when confronted with the changing and eventual vanishing of their hometown. Su produced a clear narrative of the way of life and spiritual images of the Mainland Veteran Villages’ residents through the years. Moreover, these books reveal how the thoughts and identity of the Village residents were influenced to a great extent by the power and manipulation of the government and the ruling political party, even though they were hidden behind the scene of ordinary lives in the village.
Keyword: Su-Wei-Zhan(蘇偉貞)‚ the Mainland Veteran Villages(眷村)、“You- yuan- qian- li”《有緣千里》、“Leaving Tong-fang”《離開同方》、“The silent island”《沉默之島》、“The line of the time”《時光隊伍》、identity
檢視全文
—— 閱讀蘇偉貞的「眷村四部曲」
Community, Separation, Silence, and the Vagrant Life:
Reading Su-Wei-Zhan
趙慶華
Jaw, Ching-hwa
摘要
數十年來，隨著歷史條件與政治結構的改變，眷村的形貌、生態、意義均歷經了極大的轉折，與此同時，眷村住民在台灣社會的現實處境也有所不同，從而影響他們觀看眷村內部與村外世界的眼光，以及關於「我（們）是誰？」的思索。據此，本文聚焦於蘇偉貞的《有緣千里》、《離開同方》、《沉默之島》、《時光隊伍》等四部作品，考察一位出身、成長於眷村的外省第二代作家，面對眷村的變化與消解，如何描摹與其具有相近感知結構的一群人的認同、記憶和情感。透過小說，蘇偉貞清晰地舖展了五、六十年來眷村住民在台灣的生活樣態與精神圖像；在此同時，這些作品也讓我們理解：隱身眷村舞台幕後的黨國機制與國家統馭力量，是如何強固地影響了眷村住民的思維意識與認同指向。
關鍵詞：蘇偉貞、眷村、《有緣千里》、《離開同方》、《沉默之島》、《時光隊伍》、認同
Abstract
Over the past few decades, changes in the historical condition and in the political structure of Taiwan has greatly transformed the appearance, life style and inner-meaning of the Mainland Veteran Villages. The social position of Village residents in Taiwanese society has also changed. These changes not only significantly altered the ways the residents perceive the world within and without the Mainland Veteran Villages, but also affect their reflections towards themselves both as a community and as individuals.
This essay focuses on four novels by Su-Wei-Zhan “You- yuan- qian- li”(有緣千里), Leaving Tong-fang”(離開同方), “The silent island”(沉默之島) and “The line of the time”(時光隊伍) , as a means of exploring how this particular writer, a second generation member of a Mainland Veteran Village, describes the identity, memories and even affection of those who shared similar experiences when confronted with the changing and eventual vanishing of their hometown. Su produced a clear narrative of the way of life and spiritual images of the Mainland Veteran Villages’ residents through the years. Moreover, these books reveal how the thoughts and identity of the Village residents were influenced to a great extent by the power and manipulation of the government and the ruling political party, even though they were hidden behind the scene of ordinary lives in the village.
Keyword: Su-Wei-Zhan(蘇偉貞)‚ the Mainland Veteran Villages(眷村)、“You- yuan- qian- li”《有緣千里》、“Leaving Tong-fang”《離開同方》、“The silent island”《沉默之島》、“The line of the time”《時光隊伍》、identity
檢視全文
形式美學與敘事政治—— 日據時期台灣自然主義小說研究
形式美學與敘事政治
—— 日據時期台灣自然主義小說研究
Politics of Narrative and Aesthetics:
Taiwanese Naturalist Fiction during the Period of Japanese Occupation
劉乃慈
Liu, Nai-Tzu
摘要
出現在日據時代「戰爭期」的自然主義小說，不僅是台灣新文學與世界文學接軌的重要表徵，並且在發展的過程中形塑出屬於台灣自身的歷史文化脈絡。就結構形式所激發的美學效果而言，自然主義技巧提升了當時台灣寫實主義小說的藝術層次。自然主義採取客觀抽離的敘述手法，可以避免寫實主義小說常有的因社會改革的使命而產生的急躁、平面的長篇說教。就文學的社會象徵而言，自然主義的敘事策略其實可以為當時備受殖民政體壓迫的文學創作者，隱隱開出一條藝術自主性的書寫方向。換言之，自然主義所展現出來的一種假客觀敘事文體，可以巧妙迴避主導話語的規範箝制、爭取文本開放多層次的意義詮釋空間，與四○年代主導文化的寫作政策產生微妙的抗衡或銷解作用。本文擬就台灣四○年代初期幾位重要的小說創作代表，如呂赫若、龍瑛宗以及王昶雄的作品，探討自然主義書寫特質對台灣新文學的影響。
關鍵詞：自然主義、敘事美學、呂赫若、龍瑛宗、王昶雄
Abstract
The upsurge of naturalist fiction during the period of Japanese occupation is a main cultural feature of the connecting between Taiwanese and the world literature. More importantly, it reshaped the literary movement of the 1940s. From the viewpoint of aesthetic effect, naturalism lifts up the artistic level of Taiwanese realist literature during that time. In addition, the belief in a so-called objective narrative enabled those naturalist writers to escape the dominant discourses of colonial government and strive to create their own figurative environment of free speech. Unfortunately, the value of the naturalist literature of the 1940s is not yet fully recognized, nor is the variety of literary trends in early Taiwanese literature well discussed. Hence, this paper attempts to explore the cultural and social significance of naturalist writing strategy. I will analyze the representative works by Lu He-juo, Lung Ying-tsong and Wang Chang-hsiung, in order to probe into the process and the impact of naturalist fiction upon Taiwanese literature during the period of Japanese occupation.
Keywords: Naturalism, Narrative aesthetics, Lu He-juo, Lung Ying-tsong , Wang Chang-hsiung
檢視全文
—— 日據時期台灣自然主義小說研究
Politics of Narrative and Aesthetics:
Taiwanese Naturalist Fiction during the Period of Japanese Occupation
劉乃慈
Liu, Nai-Tzu
摘要
出現在日據時代「戰爭期」的自然主義小說，不僅是台灣新文學與世界文學接軌的重要表徵，並且在發展的過程中形塑出屬於台灣自身的歷史文化脈絡。就結構形式所激發的美學效果而言，自然主義技巧提升了當時台灣寫實主義小說的藝術層次。自然主義採取客觀抽離的敘述手法，可以避免寫實主義小說常有的因社會改革的使命而產生的急躁、平面的長篇說教。就文學的社會象徵而言，自然主義的敘事策略其實可以為當時備受殖民政體壓迫的文學創作者，隱隱開出一條藝術自主性的書寫方向。換言之，自然主義所展現出來的一種假客觀敘事文體，可以巧妙迴避主導話語的規範箝制、爭取文本開放多層次的意義詮釋空間，與四○年代主導文化的寫作政策產生微妙的抗衡或銷解作用。本文擬就台灣四○年代初期幾位重要的小說創作代表，如呂赫若、龍瑛宗以及王昶雄的作品，探討自然主義書寫特質對台灣新文學的影響。
關鍵詞：自然主義、敘事美學、呂赫若、龍瑛宗、王昶雄
Abstract
The upsurge of naturalist fiction during the period of Japanese occupation is a main cultural feature of the connecting between Taiwanese and the world literature. More importantly, it reshaped the literary movement of the 1940s. From the viewpoint of aesthetic effect, naturalism lifts up the artistic level of Taiwanese realist literature during that time. In addition, the belief in a so-called objective narrative enabled those naturalist writers to escape the dominant discourses of colonial government and strive to create their own figurative environment of free speech. Unfortunately, the value of the naturalist literature of the 1940s is not yet fully recognized, nor is the variety of literary trends in early Taiwanese literature well discussed. Hence, this paper attempts to explore the cultural and social significance of naturalist writing strategy. I will analyze the representative works by Lu He-juo, Lung Ying-tsong and Wang Chang-hsiung, in order to probe into the process and the impact of naturalist fiction upon Taiwanese literature during the period of Japanese occupation.
Keywords: Naturalism, Narrative aesthetics, Lu He-juo, Lung Ying-tsong , Wang Chang-hsiung
檢視全文
自我、他者、共同體——論洪耀勳 〈 風土文化觀 〉
自我、他者、共同體
——論洪耀勳 〈 風土文化觀 〉
Self, Other and Community:
A Discussion on Hung Yao-Shun’s “Fudo Bunkakan: Taiwan Fudo No Renkan Ni Oite”
林巾力
Lin, Chin-Li
摘要
洪耀勳戰前所發表的〈風土文化観——台湾風土との関連に於いて〉，不但是發表於三○年代的少數重要哲學論文之一，同時也可以看作是對於「鄉土」論爭的正面回應，而它的目的也是在於尋求「台灣特殊性」在理論上的可能基礎。洪耀勳藉助日本學者和辻哲郎有關「風土」的理論，並以詮釋學與黑格爾的辯證法作為框架，企圖來建構自我與他者、特殊與普遍、個人與共同體的理論，並藉此探討「台灣」作為主體的可能性。
洪耀勳並且分別耙梳了台灣與中國、台灣與日本的關係，他強調，人類的社會存在乃是受歷史性與風土性所規定，而人的行為樣式亦是作為理解的型態而在與風土的具體交涉中產生，因此在趨近台灣特殊性的問題時，必須同時顧及「時間性」與「空間性」——亦即「歷史性」與「風土性」的視野。而從這樣的框架來看台灣與中國以及日本的關係時，洪耀勳認為，在與中國的關係方面，儘管台灣的風土與南中國相仿，而目前為止所發源於其中的生活樣態也大抵類似，但正是因為「歷史命運」的改變，因而促成了台灣在生活與文化上能夠發展其特殊性的契機。而與日本方面，洪耀勳則呼籲，日本人必須順應於台灣的風土——這裡當然還包括了對於由風土而發展出來的生活樣式與類型、以及人們自我瞭解的文化模式的順應。他同時主張，在台灣的生活交涉勢必是要受風土所限定，因此也必然是帶有「台灣性格」的，無論是怎樣的風土，必定是歷史的風土，而不管怎樣的歷史，也必然是風土的歷史，所以，真正的台灣理解，必須是風土的理解。
而在洪耀勳的自他辯證裡，自我必須是在與他人的關係之中、並且是在（由辯證否定而來的）相互承認之中，抵達那主客對立最終被加以克服而自他因此合而為一的超越場所，在那裡，同時也就是在那個共同的世界中，新的自我才可能被實現。在洪耀勳的脈絡中，這「自我」與「他人」其實更還擴大到「台灣」與「日本」以及「中國」的關係上，因此在這樣一篇論述當中，洪耀勳可以說是藉助了哲學上的自他辯證來尋找台灣作為主體的可能性。儘管洪耀勳反映在哲學語言上的理想主義在戰爭與殖民統治的幢幢黑影中不免顯得蒼白，但是作為「主體」的慾望，還有將「自我＝台灣」視為擁有內在統一性的實體，卻是成為一股伏流，在不斷的論述過程中再次被提出、並被加以確認。
關鍵詞：風土、自我、他者、共同體、時間、空間
Abstract
This paper seeks to analyze Hung Yao-Shun's "Fudo Bunkakan: Taiwan Fudo No Renkan Ni Oite" ( 風土文化観：台湾風土との関連に於いて ) which was one of the most important philosophical essays written by a Taiwanese scholar in the 1930s. It can be seen not only as the response to Hsiang-t'u Debate but also as Hung Yao Shun’s effort to establish the theoretical basement for "Taiwan's uniqueness". In Hung's essay, he is inspired by the ideas of Japanese Philosopher Watsuji Tetsuro's newly published book, Fudo: Ningengaku teki kosa ( 風土：人間学的考察 ), which emphasized that human existence is constituted both by the aspects of history (time) and climate (space). Based on Watsuji's theory and Hegel's Phenomenology of Spirit as his theoretical framework, Hung discusses how Taiwanese people understood themselves and developed their own unique culture. In spite of Hung's philosophical attempts to discover what Taiwan's uniqueness consisted of, his essay has not drawn much attention by recent researchers partly due to his highly abstract style of writing. Thus in this paper, I explore how Hung was trying to find Taiwan's historical and social uniqueness under the powerful cultural influences of Japan and China.
Keywords: Fudo (climate), self, other, community, time, space
檢視全文
——論洪耀勳 〈 風土文化觀 〉
Self, Other and Community:
A Discussion on Hung Yao-Shun’s “Fudo Bunkakan: Taiwan Fudo No Renkan Ni Oite”
林巾力
Lin, Chin-Li
摘要
洪耀勳戰前所發表的〈風土文化観——台湾風土との関連に於いて〉，不但是發表於三○年代的少數重要哲學論文之一，同時也可以看作是對於「鄉土」論爭的正面回應，而它的目的也是在於尋求「台灣特殊性」在理論上的可能基礎。洪耀勳藉助日本學者和辻哲郎有關「風土」的理論，並以詮釋學與黑格爾的辯證法作為框架，企圖來建構自我與他者、特殊與普遍、個人與共同體的理論，並藉此探討「台灣」作為主體的可能性。
洪耀勳並且分別耙梳了台灣與中國、台灣與日本的關係，他強調，人類的社會存在乃是受歷史性與風土性所規定，而人的行為樣式亦是作為理解的型態而在與風土的具體交涉中產生，因此在趨近台灣特殊性的問題時，必須同時顧及「時間性」與「空間性」——亦即「歷史性」與「風土性」的視野。而從這樣的框架來看台灣與中國以及日本的關係時，洪耀勳認為，在與中國的關係方面，儘管台灣的風土與南中國相仿，而目前為止所發源於其中的生活樣態也大抵類似，但正是因為「歷史命運」的改變，因而促成了台灣在生活與文化上能夠發展其特殊性的契機。而與日本方面，洪耀勳則呼籲，日本人必須順應於台灣的風土——這裡當然還包括了對於由風土而發展出來的生活樣式與類型、以及人們自我瞭解的文化模式的順應。他同時主張，在台灣的生活交涉勢必是要受風土所限定，因此也必然是帶有「台灣性格」的，無論是怎樣的風土，必定是歷史的風土，而不管怎樣的歷史，也必然是風土的歷史，所以，真正的台灣理解，必須是風土的理解。
而在洪耀勳的自他辯證裡，自我必須是在與他人的關係之中、並且是在（由辯證否定而來的）相互承認之中，抵達那主客對立最終被加以克服而自他因此合而為一的超越場所，在那裡，同時也就是在那個共同的世界中，新的自我才可能被實現。在洪耀勳的脈絡中，這「自我」與「他人」其實更還擴大到「台灣」與「日本」以及「中國」的關係上，因此在這樣一篇論述當中，洪耀勳可以說是藉助了哲學上的自他辯證來尋找台灣作為主體的可能性。儘管洪耀勳反映在哲學語言上的理想主義在戰爭與殖民統治的幢幢黑影中不免顯得蒼白，但是作為「主體」的慾望，還有將「自我＝台灣」視為擁有內在統一性的實體，卻是成為一股伏流，在不斷的論述過程中再次被提出、並被加以確認。
關鍵詞：風土、自我、他者、共同體、時間、空間
Abstract
This paper seeks to analyze Hung Yao-Shun's "Fudo Bunkakan: Taiwan Fudo No Renkan Ni Oite" ( 風土文化観：台湾風土との関連に於いて ) which was one of the most important philosophical essays written by a Taiwanese scholar in the 1930s. It can be seen not only as the response to Hsiang-t'u Debate but also as Hung Yao Shun’s effort to establish the theoretical basement for "Taiwan's uniqueness". In Hung's essay, he is inspired by the ideas of Japanese Philosopher Watsuji Tetsuro's newly published book, Fudo: Ningengaku teki kosa ( 風土：人間学的考察 ), which emphasized that human existence is constituted both by the aspects of history (time) and climate (space). Based on Watsuji's theory and Hegel's Phenomenology of Spirit as his theoretical framework, Hung discusses how Taiwanese people understood themselves and developed their own unique culture. In spite of Hung's philosophical attempts to discover what Taiwan's uniqueness consisted of, his essay has not drawn much attention by recent researchers partly due to his highly abstract style of writing. Thus in this paper, I explore how Hung was trying to find Taiwan's historical and social uniqueness under the powerful cultural influences of Japan and China.
Keywords: Fudo (climate), self, other, community, time, space
檢視全文
2012年3月26日 星期一
創傷與重生 ——從早期作品論郭松棻創作基調的形成
創傷與重生
——從早期作品論郭松棻創作基調的形成
Seeds and Anti-Essentialism:
An Analysis of Kou Song Fen’s Early Works
魏偉莉
Wei, Wei Lee
摘要
在台灣八○年代的政治文學風潮中，作品主題常圍繞在國族認同與政治立場的表達。但是在此風潮中，郭松棻作品所表現出的國族認同卻顯得難以辨識。因此，前行研究在分析郭氏作品時，往往產生非常分歧的看法。然而，本文認為這種難以辨識的特色，正是郭松棻在回應台灣當時的政治變化與認同焦慮的一種策略。而且，這種回應策略從他的早期作品即已出現，並成為他日後作品的基本調性。
此基本調性有二：第一，作者認為人對身分認同的認知是受到社會建構的，因此質疑具有本質化傾向的認同模式。第二，作者認為既然認同是被社會建構的，那麼經歷多重殖民統治的台灣人就在不同政權的文化建構中，產生認同上的矛盾，甚至是離散（diaspora）的經驗。
因此，相較於八○年代的政治文學，郭松棻的作品既不是在宣揚某種真理化的國族認同，也並非在嘲諷認同焦慮，而是試圖為台灣內部的認同僵局思索解決之道。
關鍵詞：政治文學、郭松棻、國族認同
Abstract
The predominate political literature of the 1980’s was characterized by a discussion of national identity and the conflicts associated with the popular political stands of the era. However, Guo Song Fen, as a representative author of the political literature of this time, differs greatly in theory and focus on the issue of national identity. Until now, Guo Song Fen’s works have been analyzed to imply that he ascribed to either one of the schools of national identity. However, this paper argues that it is exactly this characteristic of ambiguity that acts as a strategy to respond to the political changes and confusion concerning national identity at that time.
Guo Song Fen’s defining themes can be understood by his belief that identity is a kind of social construction and thereby is more appropriately understood through anti-essentialism. Specifically, in terms of the Taiwanese experience of identity, Guo Song Fen believed that the repeated experience of being a colonized people ruled by several different regimes, created a conflicted identity of self in which the Taiwanese could not reconcile the contradictory elements of their social history. Furthermore, because of Guo Song Fen’s forced immigration to the United States, his experience of Diaspora further complicated his relationship with identity.
The aforementioned themes can be seen in Guo Song Fen’s earliest works and later became the defining characteristic of Guo’s literature. As the political literature of the 1980’s either chose to ascribe to the belief in a conclusive identity, or chose to take an ironic or satiric perspective on the matter, Guo Song Fen’s literature lies outside of these two opposing perspectives. Instead, his works emphasized the importance of identity and the anti-essentialist nature of the self.
Keywords: political literature, Guo Song Fen, national identity
檢視全文
帝國的錯位——王昶雄《奔流》中的游移認同
The Dislocation of Empire:
An Identity Paradigm of Colonial Displacement in Wang Chang-hsiung’s A Raging Torrent *
帝國的錯位——王昶雄《奔流》中的游移認同
李育霖,
Lee, Yu-lin
Abstract
Fifty years of Japanese rule over Taiwan provided a context not only for the development of a colonial apparatus but also for the elaboration of patterns of resistance by the colonized. Guided by its assimilation policy, Japan attempted to integrate the island into the Japanese empire through zealous educational and cultural campaigns. The process of cultural assimilation and subordination, however, produced sentiments of displacement on the part of the colonized subjects. This paper examines Wang Ch’ang-hsiung’s novella A Raging Torrent, a representative work of “imperial literature” by native Taiwanese authors, showing how the cultural and subjective ambiguity inherent in such counter-discourse indicates displacement in the elaboration of a colonial identity. The I-narrator of the novella, caught between the colonizer and the colonized, presents an emblem of the paradoxical ambiguities of colonialism. Hunted by a confusion of identity, the narrator reveals a self which negotiates the cultural and subjective codes of the colonial encounter. The constant negotiations between the colonized self and the colonizing other strongly suggest the dislocation of the colonizer’s discourse and produce a text that expresses an identity paradigm of ambiguity and multiplicity of the imperial subjects.
Keywords: identity, displacement, assimilation, Wang Chang-hsiung, komin literature
摘要
日本五十年的台灣殖民統治不僅促成了日本殖民機關的發展，同時在殖民地也形成了特殊的反抗論述。透過語言教育及其他文化政策，日本殖民政府努力將台灣織入帝國版圖，將台灣人民變成帝國的臣民。然而在一連串的同化過程中，在被殖民者身上展現的卻是游移與疏離。本論文鎖定皇民文學代表作之一——殖民地作家王昶雄的《奔流》，探討潛在於反抗論述中文化與主體的模稜兩可如何在殖民認同的謀劃中展現游移的特質與樣態。《奔流》中的敘述者「我」夾在殖民者與被殖民者之間，呈現了殖民主義中特有的弔詭與模稜兩可。小說陳述殖民遭遇中自我與他者之間的協商過程，而此不斷協商過程所展現的，正是帝國殖民論述在殖民地的錯位，以及殖民地臣民本身模稜兩可與多重的認同書寫模式。
關鍵字：認同，游移，同化，王昶雄，皇民文學
檢視全文
訂閱：
文章 (Atom)