研究論文 Research Article
全球生態意識的在地展現：吳明益《家離水邊那麼近》中的水域生態與族群文化景觀
A Local Practice of Global Ecological Consciousness :
Water Ecology and Ethnic Culture in Wu Mingyi’s So Much Water So Close to Home
莊傳芬
Jhuang, Chuan-fen
摘要
本論文以吳明益《家離水邊那麼近》的自然生態與人類文化之書寫為題材，探討東台灣水域生態與地方族群文化發展二者間的共生關係，以及文本中所展現的生態觀。從「水」的探尋發端，作者從其豐富的歷史人文與科學知識背景出發，藉由數次步行並觀察東台灣溪流與海洋生態的經驗，而在過程中具體落實了對花蓮生態現況的知性思辨。作者並以此為基點，進一步將在地與全球連結，從生態的普世性價值中開展其全球生態意識的論述。
本論文聚焦於文本中描寫溪與海的兩個章節，探討花蓮在地原住民文化、河流與海洋生態，以及現代科學知識三者之間的作用關係。並進一步思考：在吳明益的自然書寫中，河流與海洋不同的地理形制有什麼樣不同的表現方式與元素？文本中傳統族群文化的詩意想像與現代科學的知性思辨相互連結後，展現出什麼樣的生態批評與具體生態觀？文本中以東台灣水域為觀察基礎所開展的在地生態意識，如何與全球生態倫理觀相連結？此皆為本論文試圖論述之處。
關鍵詞：自然書寫、花蓮原住民、傳統生態知識（TEK）、水域生態
Abstract
This paper looks into the interrelationship between natural ecology and ethnic culture in Wu Mingyi’s So Much Water So Close to Home. It presents how Wu’s ecological observation, in particular the symbiosis between water ecology and cultural development of the aboriginals. Starting from exploring water ecology, Wu provides substantial reflections on environmental issues in Hualien through local, historical and cultural backgrounds, as well as through scientific knowledge and fieldworks in river and marine ecosystems in eastern Taiwan. Furthermore, he attempts to connect the local to the global by developing a discourse on the consciousness of global ecology based on universal values.
This paper focuses on river and marine ecosystems, and explores the interrelationship between aboriginal culture, river and marine ecosystems, and modern scientific knowledge. This paper is interested in that follows: What kind of expressions and elements are used to represent different geographic forms of river and sea? What kind of eco-criticism and ecological thinking are demonstrated through the combination of traditional poetic imagination and the intellectual science? How can the locally ecological consciousness connect to the globally ecological ethics?
Keywords: nature writing, Hualien’s aboriginals, TEK, water ecology
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2013年8月28日 星期三
陳銘磻的生命原鄉追尋
研究論文 Research Article
陳銘磻的生命原鄉追尋
Chen Ming-Pan’s Pursuit of Life Homeland
劉智濬
Liu, Chih-chun
摘要
本文嘗試探尋陳銘磻歷時性文本之間的深層連結，梳理貫穿其中的核心書寫動機。1970年代中期以來，陳銘磻的創作歷程呈現三個創作主軸平行重疊、交錯互涉的狀態：以父親為核心的故鄉書寫、以社會底層邊緣為關注對象的報導文學書寫、以原住民部落那羅與異國日本為場域的旅行書寫。透過這三個面向的創作，陳銘磻追尋在倫理、社會、族裔等不同層面的歸屬與安頓，並歸結於以父愛為核心之生命原鄉的探問。
關鍵詞：陳銘磻、生命原鄉、閱讀策略
Abstract
This article tries to dig into subterranean connections between Chen’s diachronic texts, collating core writing motivations threading them. Chen’s writing history since mid 1970s is made up of three writing pillars that parallel, interlock, and inter-textualize each other: homeland writing focusing on Shifang Village and his father, reportage literary writing on the underprivileged and marginalized subjects, and travel writing featuring aboriginal tribe Nalou village and foreign country Japan. By writing the three facets, Chen explores the topics of belonging and settling from the aspects of society, ethnicity, and ethics, and ends up in the quest for life homeland represented by father’s love.
Keywords: Chen Ming-Pan, Life Homeland, Reading Strategy
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陳銘磻的生命原鄉追尋
Chen Ming-Pan’s Pursuit of Life Homeland
劉智濬
Liu, Chih-chun
摘要
本文嘗試探尋陳銘磻歷時性文本之間的深層連結，梳理貫穿其中的核心書寫動機。1970年代中期以來，陳銘磻的創作歷程呈現三個創作主軸平行重疊、交錯互涉的狀態：以父親為核心的故鄉書寫、以社會底層邊緣為關注對象的報導文學書寫、以原住民部落那羅與異國日本為場域的旅行書寫。透過這三個面向的創作，陳銘磻追尋在倫理、社會、族裔等不同層面的歸屬與安頓，並歸結於以父愛為核心之生命原鄉的探問。
關鍵詞：陳銘磻、生命原鄉、閱讀策略
Abstract
This article tries to dig into subterranean connections between Chen’s diachronic texts, collating core writing motivations threading them. Chen’s writing history since mid 1970s is made up of three writing pillars that parallel, interlock, and inter-textualize each other: homeland writing focusing on Shifang Village and his father, reportage literary writing on the underprivileged and marginalized subjects, and travel writing featuring aboriginal tribe Nalou village and foreign country Japan. By writing the three facets, Chen explores the topics of belonging and settling from the aspects of society, ethnicity, and ethics, and ends up in the quest for life homeland represented by father’s love.
Keywords: Chen Ming-Pan, Life Homeland, Reading Strategy
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吾鄉印象與鄉土文學：論七○年代吳晟詩歌的形成與發展
研究論文 Research Article
吾鄉印象與鄉土文學：論七○年代吳晟詩歌的形成與發展
“Wú Xiāng Yìn Xiàng” and Native Literature:
The Formation and Development of Wú Chéng’s Poetry in the 1970s
蔡明諺
Tsai, Ming-yen
摘要
本文追溯了吳晟在七○年代的詩歌創作，並且藉此說明了吳晟長年以來在詩藝道路上的探索與追尋。本文認為，吳晟在1972年所發表的「吾鄉印象」系列詩作，不管從形式上或主題上來說，仍然更多地延續著現代主義文學的特徵。而吳晟「鄉土詩」風格之真正確立，則應該在「泥土篇」（1974）與「向孩子說」（1977）系列詩作之後。吳晟的文學史地位之建構，和七○年代台灣文壇環繞對於鄉土概念的討論，彼此緊密相關。吳晟的鄉土詩完成在鄉土文學運動之前，當他以其直覺的藝術感性凝視外在鄉土，而非以意識構築詩句時，他所塑造出的才是文學史上迄今獨立的鄉土詩典範。
關鍵詞：現實主義文學、農民文學、現代詩、鄉土詩
Abstract
This paper traces Wú Chéng’s poetry in the 1970s, accounting for his attempts at poetic writing. I argue that Wú Chéng’s “Wú Xiang Yìn Xiàng”, published in 1972, retains the traits of modernist literature, no matter in terms of form or topic. His “Native Poetry” style was not established until the creation of “Ní Tu Pian” (1974) and the “Xiàng Hái Zi Shuo” (1977). Wú Chéng’ status in literature was constructed in close relation to the discussions on the concepts of “xiang tu” in the 1970s. His “Native Poetry” was written before the “Native Literature Controversy”. These works set the model of “Native Poetry” in the literature history of Taiwan, as he waved good-bye to Modernism and turned his gaze upon the life of his native soil with emotion and intuition.
Keywords: Realism literature, Rural literature, Modern poetry,Native Poetry
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吾鄉印象與鄉土文學：論七○年代吳晟詩歌的形成與發展
“Wú Xiāng Yìn Xiàng” and Native Literature:
The Formation and Development of Wú Chéng’s Poetry in the 1970s
蔡明諺
Tsai, Ming-yen
摘要
本文追溯了吳晟在七○年代的詩歌創作，並且藉此說明了吳晟長年以來在詩藝道路上的探索與追尋。本文認為，吳晟在1972年所發表的「吾鄉印象」系列詩作，不管從形式上或主題上來說，仍然更多地延續著現代主義文學的特徵。而吳晟「鄉土詩」風格之真正確立，則應該在「泥土篇」（1974）與「向孩子說」（1977）系列詩作之後。吳晟的文學史地位之建構，和七○年代台灣文壇環繞對於鄉土概念的討論，彼此緊密相關。吳晟的鄉土詩完成在鄉土文學運動之前，當他以其直覺的藝術感性凝視外在鄉土，而非以意識構築詩句時，他所塑造出的才是文學史上迄今獨立的鄉土詩典範。
關鍵詞：現實主義文學、農民文學、現代詩、鄉土詩
Abstract
This paper traces Wú Chéng’s poetry in the 1970s, accounting for his attempts at poetic writing. I argue that Wú Chéng’s “Wú Xiang Yìn Xiàng”, published in 1972, retains the traits of modernist literature, no matter in terms of form or topic. His “Native Poetry” style was not established until the creation of “Ní Tu Pian” (1974) and the “Xiàng Hái Zi Shuo” (1977). Wú Chéng’ status in literature was constructed in close relation to the discussions on the concepts of “xiang tu” in the 1970s. His “Native Poetry” was written before the “Native Literature Controversy”. These works set the model of “Native Poetry” in the literature history of Taiwan, as he waved good-bye to Modernism and turned his gaze upon the life of his native soil with emotion and intuition.
Keywords: Realism literature, Rural literature, Modern poetry,Native Poetry
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蔣渭水的左傾之道（1930-1931）：論共產國際「資本主義第三期」理論對蔣渭水的啟發
研究論文 Research Article
蔣渭水的左傾之道（1930-1931）：論共產國際「資本主義第三期」理論對蔣渭水的啟發
Chiang Wei Shui’s Left-leaning Approach (1930-1931) :
On the Influence of “The Third Stage of Capitalism” by the Communism
International to Chiang
趙勳達
Chao, Hsun-ta
摘要
論者恆謂蔣渭水在思想上師法孫中山，反對破壞民族團結的階級鬥爭，但不反對社會主義的平等原則。在1927年台灣民眾黨創黨之時，蔣渭水援引孫文主義作為理論武裝，此時的蔣渭水固然在思想上有馬克思主義的影子，不過基本上仍是孫文主義的信徒。然而到了1930年，蔣渭水漸次受到了共產國際「資本主義第三期」理論的啟發以及世界性經濟大恐慌的刺激，放棄了他過去認為資本主義尚處於「安定期」的主張，轉而響應共產國際的號召，致力於推動無產階級革命運動。此時的蔣渭水，一面心儀蘇聯新經濟政策，主張孫文主義具有發展到無產階級專政之可能性，一面決定放棄合法改良主義路線而欲與台共‧新文協合流，如此一來是否可以被視為孫中山的信徒？不無疑義。本文主張，此時的蔣渭水左傾的態度明確，已不堅持原來的改良主義路線，而是轉向激進的階級鬥爭。後來者有其後見之明，本文不願評論蔣渭水在革命時機的拿捏上恰當與否。但蔣渭水在當時看到了台灣解放運動的曙光，他選擇奮力一搏，雖然最後留下了「壯志未酬身先死」的遺憾，然而其精神依然值得肯定。
關鍵詞：蔣渭水、資本主義第三期、共產國際、孫中山
Abstract
Commentators always regarded Chiang Wei-shui as a follower of Dr. Sun Yat-sen’s ideology, one who as opposed to class struggle which undermines national unity, and yet was not against the principle of equality of the socialist. When Taiwanese People’s Party was founded in 1927, the principal theory of the party by Chiang was based on Dr. Sun Yat-sen’s ideology. Back at the time Chiang’s ideas somewhat reflected Marxist ideology, but he remained essentially Sun’s disciple. By 1930, however, Chiang began to be inspired by the “Third Stage of Capitalism” by the Communism International and was influenced by the Great Depression that swept the world. As a result, he renounced his claims that capitalism is in an “ultimate stage” and instead responded to the call of the Communism International. Since then, Chiang has been committed to promoting the proletarian movement. Therefore, from 1930 onwards, Chiang Wei-shui longed for the Soviet Union’s New economic policy on the one hand, thinking that Sun’s ideas demonstrate the possibility of developing into dictatorship of proletariat, and on the other hand, he aspired to integrate with Taiwan Communist Party and Taiwan Culture Association. This leaves much room for discussion as to whether or not Chiang was still a disciple of Sun. The author argues that, at the point Chiang’s leftist attitude was already quite clear. He no longer adhered to the original reformist route, but turned instead to the radical class struggle. The author does not intend to comment on whether Chiang’s timing of the revolution was appropriate or not, but back at the time Chiang felt a glimpse of hope for the liberation of Taiwan and chose to take a chance. Regrettably, things did not turn out the way he expected, but his efforts were still commendable.
Keywords: Chiang Wei-shui, ” The Third Stage of Capitalism “, Communism International (Comintern), Dr. Sun Yat-sen
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蔣渭水的左傾之道（1930-1931）：論共產國際「資本主義第三期」理論對蔣渭水的啟發
Chiang Wei Shui’s Left-leaning Approach (1930-1931) :
On the Influence of “The Third Stage of Capitalism” by the Communism
International to Chiang
趙勳達
Chao, Hsun-ta
摘要
論者恆謂蔣渭水在思想上師法孫中山，反對破壞民族團結的階級鬥爭，但不反對社會主義的平等原則。在1927年台灣民眾黨創黨之時，蔣渭水援引孫文主義作為理論武裝，此時的蔣渭水固然在思想上有馬克思主義的影子，不過基本上仍是孫文主義的信徒。然而到了1930年，蔣渭水漸次受到了共產國際「資本主義第三期」理論的啟發以及世界性經濟大恐慌的刺激，放棄了他過去認為資本主義尚處於「安定期」的主張，轉而響應共產國際的號召，致力於推動無產階級革命運動。此時的蔣渭水，一面心儀蘇聯新經濟政策，主張孫文主義具有發展到無產階級專政之可能性，一面決定放棄合法改良主義路線而欲與台共‧新文協合流，如此一來是否可以被視為孫中山的信徒？不無疑義。本文主張，此時的蔣渭水左傾的態度明確，已不堅持原來的改良主義路線，而是轉向激進的階級鬥爭。後來者有其後見之明，本文不願評論蔣渭水在革命時機的拿捏上恰當與否。但蔣渭水在當時看到了台灣解放運動的曙光，他選擇奮力一搏，雖然最後留下了「壯志未酬身先死」的遺憾，然而其精神依然值得肯定。
關鍵詞：蔣渭水、資本主義第三期、共產國際、孫中山
Abstract
Commentators always regarded Chiang Wei-shui as a follower of Dr. Sun Yat-sen’s ideology, one who as opposed to class struggle which undermines national unity, and yet was not against the principle of equality of the socialist. When Taiwanese People’s Party was founded in 1927, the principal theory of the party by Chiang was based on Dr. Sun Yat-sen’s ideology. Back at the time Chiang’s ideas somewhat reflected Marxist ideology, but he remained essentially Sun’s disciple. By 1930, however, Chiang began to be inspired by the “Third Stage of Capitalism” by the Communism International and was influenced by the Great Depression that swept the world. As a result, he renounced his claims that capitalism is in an “ultimate stage” and instead responded to the call of the Communism International. Since then, Chiang has been committed to promoting the proletarian movement. Therefore, from 1930 onwards, Chiang Wei-shui longed for the Soviet Union’s New economic policy on the one hand, thinking that Sun’s ideas demonstrate the possibility of developing into dictatorship of proletariat, and on the other hand, he aspired to integrate with Taiwan Communist Party and Taiwan Culture Association. This leaves much room for discussion as to whether or not Chiang was still a disciple of Sun. The author argues that, at the point Chiang’s leftist attitude was already quite clear. He no longer adhered to the original reformist route, but turned instead to the radical class struggle. The author does not intend to comment on whether Chiang’s timing of the revolution was appropriate or not, but back at the time Chiang felt a glimpse of hope for the liberation of Taiwan and chose to take a chance. Regrettably, things did not turn out the way he expected, but his efforts were still commendable.
Keywords: Chiang Wei-shui, ” The Third Stage of Capitalism “, Communism International (Comintern), Dr. Sun Yat-sen
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2013年8月27日 星期二
香港本土運動的興起與轉折
論壇：邊緣、少數作為意識形態
Forum: Minority as An Agent to Create Hegemony of Ideology
香港本土運動的興起與轉折
The Trajectories of Hong Kong Localist Movement
羅永生
Law, Wing-sang
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Forum: Minority as An Agent to Create Hegemony of Ideology
香港本土運動的興起與轉折
The Trajectories of Hong Kong Localist Movement
羅永生
Law, Wing-sang
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台灣弱勢族群意識發展之歷史過程考察
論壇：邊緣、少數作為意識形態
Forum: Minority as An Agent to Create Hegemony of Ideology
台灣弱勢族群意識發展之歷史過程考察
The Development of Taiwan’s Ethnic Consciousness:A Historical Examination
王甫昌
Wang, Fu-chang
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Forum: Minority as An Agent to Create Hegemony of Ideology
台灣弱勢族群意識發展之歷史過程考察
The Development of Taiwan’s Ethnic Consciousness:A Historical Examination
王甫昌
Wang, Fu-chang
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「疑難」少數與「地下迴路」邊緣：關於1930-60年台灣歌謠論述裡的意識形態
論壇：邊緣、少數作為意識形態
Forum: Minority as An Agent to Create Hegemony of Ideology
「疑難」少數與「地下迴路」邊緣：關於1930-60年台灣歌謠論述裡的意識形態
Aporiai Minority and Edging Underground Circuit :
On the Ideology in the Discourses of Taiwan’s Ballad, 1930-60
石計生
Shih, C.S. Stone
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Forum: Minority as An Agent to Create Hegemony of Ideology
「疑難」少數與「地下迴路」邊緣：關於1930-60年台灣歌謠論述裡的意識形態
Aporiai Minority and Edging Underground Circuit :
On the Ideology in the Discourses of Taiwan’s Ballad, 1930-60
石計生
Shih, C.S. Stone
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韓國民族主義的現在：「種族性」民族主義與多文化主義的挑戰
論壇：邊緣、少數作為意識形態
Forum: Minority as An Agent to Create Hegemony of Ideology
韓國民族主義的現在：「種族性」民族主義與多文化主義的挑戰
The Present of Korean Nationalism :Ethnic Nationalism and Challenges from Multiculturalism
文明基
Moon, Myung-ki
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Forum: Minority as An Agent to Create Hegemony of Ideology
韓國民族主義的現在：「種族性」民族主義與多文化主義的挑戰
The Present of Korean Nationalism :Ethnic Nationalism and Challenges from Multiculturalism
文明基
Moon, Myung-ki
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邊緣、少數作為意識形態 工作坊緣起
論壇 Forum
邊緣、少數作為意識形態
Minority as an Agent to Create Hegemony of Ideology
編者按：
國立成功大學台灣文學系2012年10月26日舉辦「邊緣、少數作為意識形態」國際學術工作坊，本期論壇收錄工作坊中所發表的論文及發言記錄。為因應期刊發表，論文發表人已於內文和題目另行若干修訂，與原工作坊手冊略有出入，特此說明。論文及發言記錄之外，一併收錄工作坊緣起和議程，提供讀者參考。
邊緣、少數作為意識形態：工作坊緣起
鍾秀梅
致力於解構主義事業的法國哲學家德希達，對於以現代性為名義所表達的歐洲中心主義思想與社會活動，持懷疑與批判的立場，因為歐洲啟蒙時期所出現如專制主義、納粹主義、種族屠殺、清洗猶太人、殖民化和非殖民化等深重罪惡所導致世界範圍文化僵滯與社會矛盾，成為了深刻的歷史幽靈與暴力痕跡。
無庸置疑地，「國家」體系是開創這些暴力的基礎。進入全球化的脈絡以降，以新自由主義為名，某些經濟上占支配地位的國家向其他國家系統性地擴展其經濟、政治與文化控制方式，其結果導致資本主義國家的興盛（特別是美國和西歐）與相對貧弱的欠發達國家（特
別是第三世界和南美、亞洲、非洲等單民族的獨立國家）之間形成的支配、附屬和依賴的全球關系。因此，持續不斷的能源與糧食戰爭、種族主義、新型國族主義、新殖民主義等，新的現代性暴力持續發酵與創造悲劇。
但另一方面，以「少數」作為一個要脅的絕對對象，在不同地區的本土主義或國族主義，以「正義」、「安全」、「純正」、「人權」等各種形式的意識形態傳播，如美國茶黨、希臘黎明黨、新法西斯運動（悲劇者如挪威殺人魔）、日本右翼力量（自稱「自由主義」）等的崛起。如果依照德希達的提問，當一個神秘無常的命運概念（如法蘭西情感）與暴力連繫在一起，其運用「正義的」手段，在和「正義的」目標產生不可解決的衝突時，是否永無「希望」和「出路」？
德希達提出：「陷入進退兩難的處境中，『絕望』、『不可解決』反而激發思想的決斷，此決斷牽涉到和真理相關的語言，以及超越暴力本身。」本次論壇的主旨，即在探論以邊緣或少數作為一種意識形態，是否有解構與超越的可能性？更進一步，則希望透過將邊緣或少數論述問題化的作業，對此等論述與法西斯的關連性做出思想上的清理。
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邊緣、少數作為意識形態
Minority as an Agent to Create Hegemony of Ideology
編者按：
國立成功大學台灣文學系2012年10月26日舉辦「邊緣、少數作為意識形態」國際學術工作坊，本期論壇收錄工作坊中所發表的論文及發言記錄。為因應期刊發表，論文發表人已於內文和題目另行若干修訂，與原工作坊手冊略有出入，特此說明。論文及發言記錄之外，一併收錄工作坊緣起和議程，提供讀者參考。
邊緣、少數作為意識形態：工作坊緣起
鍾秀梅
致力於解構主義事業的法國哲學家德希達，對於以現代性為名義所表達的歐洲中心主義思想與社會活動，持懷疑與批判的立場，因為歐洲啟蒙時期所出現如專制主義、納粹主義、種族屠殺、清洗猶太人、殖民化和非殖民化等深重罪惡所導致世界範圍文化僵滯與社會矛盾，成為了深刻的歷史幽靈與暴力痕跡。
無庸置疑地，「國家」體系是開創這些暴力的基礎。進入全球化的脈絡以降，以新自由主義為名，某些經濟上占支配地位的國家向其他國家系統性地擴展其經濟、政治與文化控制方式，其結果導致資本主義國家的興盛（特別是美國和西歐）與相對貧弱的欠發達國家（特
別是第三世界和南美、亞洲、非洲等單民族的獨立國家）之間形成的支配、附屬和依賴的全球關系。因此，持續不斷的能源與糧食戰爭、種族主義、新型國族主義、新殖民主義等，新的現代性暴力持續發酵與創造悲劇。
但另一方面，以「少數」作為一個要脅的絕對對象，在不同地區的本土主義或國族主義，以「正義」、「安全」、「純正」、「人權」等各種形式的意識形態傳播，如美國茶黨、希臘黎明黨、新法西斯運動（悲劇者如挪威殺人魔）、日本右翼力量（自稱「自由主義」）等的崛起。如果依照德希達的提問，當一個神秘無常的命運概念（如法蘭西情感）與暴力連繫在一起，其運用「正義的」手段，在和「正義的」目標產生不可解決的衝突時，是否永無「希望」和「出路」？
德希達提出：「陷入進退兩難的處境中，『絕望』、『不可解決』反而激發思想的決斷，此決斷牽涉到和真理相關的語言，以及超越暴力本身。」本次論壇的主旨，即在探論以邊緣或少數作為一種意識形態，是否有解構與超越的可能性？更進一步，則希望透過將邊緣或少數論述問題化的作業，對此等論述與法西斯的關連性做出思想上的清理。
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編輯室報告(第4期)
春光之中，《台灣文學研究》第四期收到數量令人驚喜的四方來稿。盛夏未歇，我們交上成績單，向關心台灣文學發展的各位先進報告本期成果。
延續復刊號中以圓桌論壇探討台灣文學和文化重要議題的形式，本期有幸收錄2012年10月間成功大學台灣文學系舉辦的「邊緣、少數作為意識形態」國際工作坊內容。工作坊由鍾秀梅教授主辦，邀請王甫昌教授、文明基教授、石計生教授及羅永生教授（依姓氏筆畫排序）各以工作坊論文形式，探索少數（minority）作為能動主體，如何在政治文化場域之中，創造有利意識形態作為爭霸資本。其中，王甫昌教授考察台灣弱勢族群意識被喚起的過程；文明基教授探討韓國種族民族主義在多元文化主義下所面臨的挑戰；石計生教授從少數和邊緣的概念重訪早期台灣歌謠；羅永生教授則回顧香港本土運動中的意識形態。除了發表人的論文，論壇亦收錄成功大學文學院院長賴俊雄教授、台灣文學系系主任廖淑芳教授、論文與談人吳玫瑛教授、李承機教授、鍾秀梅教授和簡義明教授（依姓氏筆畫排序）以及出席會眾的發言記錄，提供讀者工作坊內容的全貌。
論壇之外，本期收錄了四篇研究論文，各自指出不同時代和世代的台灣知識分子，如何在民族和土地的框架之下，尋找集體命運、個人原鄉、鄉土文化與生態人文的出路。
〈蔣渭水的左傾之道（1930-1931）：論共產國際「資本主義第三期」理論對蔣渭水的啟發〉重新梳理歷史，探討左翼思維對於蔣渭水的影響，以及蔣氏走向以階級鬥爭解放台灣民族的轉變。〈吾鄉印象與鄉土文學：論七○年代吳晟詩歌的形成與發展〉從文本分析著手，爬梳吳晟鄉土詩風格的形成，描述詩人逐漸轉向貼近土地的歷程。〈陳銘磻的生命原鄉追尋〉跨越陳銘磻不同文類與風格的作品，探索作家經由書寫不同地方生活行旅的經驗、追逐心中桃源淨土的心靈旅程。〈全球生態意識的在地展現：吳明益《家離水邊那麼近》中的水域生態與族群文化景觀〉則論證吳明益如何在全球生態倫理的視野中，探討在地原住民文化、河流與海洋生態，以及現代科學知識三者之間的交互關係。
書評部分則收錄〈華語語系研究的種族化轉向：談史書美、蔡建鑫、貝納德合編的 Sinophone Studies: A Critical Reader 〉，評析該書在華語語系研究上的表現以及對於台灣文學研究的可能意義。
本期出刊，除感謝投稿人惠賜稿件及審查人的辛勞，同時也要感謝編輯委員會所有同仁施懿琳、游勝冠、廖淑芳、鍾秀梅和吳毓琪老師以及編輯助理許芳庭小姐在編輯工作上的辛勤付出，尤其鍾秀梅老師慷慨交付工作坊內容，使得本期有今日的呈現。（王右君）
延續復刊號中以圓桌論壇探討台灣文學和文化重要議題的形式，本期有幸收錄2012年10月間成功大學台灣文學系舉辦的「邊緣、少數作為意識形態」國際工作坊內容。工作坊由鍾秀梅教授主辦，邀請王甫昌教授、文明基教授、石計生教授及羅永生教授（依姓氏筆畫排序）各以工作坊論文形式，探索少數（minority）作為能動主體，如何在政治文化場域之中，創造有利意識形態作為爭霸資本。其中，王甫昌教授考察台灣弱勢族群意識被喚起的過程；文明基教授探討韓國種族民族主義在多元文化主義下所面臨的挑戰；石計生教授從少數和邊緣的概念重訪早期台灣歌謠；羅永生教授則回顧香港本土運動中的意識形態。除了發表人的論文，論壇亦收錄成功大學文學院院長賴俊雄教授、台灣文學系系主任廖淑芳教授、論文與談人吳玫瑛教授、李承機教授、鍾秀梅教授和簡義明教授（依姓氏筆畫排序）以及出席會眾的發言記錄，提供讀者工作坊內容的全貌。
論壇之外，本期收錄了四篇研究論文，各自指出不同時代和世代的台灣知識分子，如何在民族和土地的框架之下，尋找集體命運、個人原鄉、鄉土文化與生態人文的出路。
〈蔣渭水的左傾之道（1930-1931）：論共產國際「資本主義第三期」理論對蔣渭水的啟發〉重新梳理歷史，探討左翼思維對於蔣渭水的影響，以及蔣氏走向以階級鬥爭解放台灣民族的轉變。〈吾鄉印象與鄉土文學：論七○年代吳晟詩歌的形成與發展〉從文本分析著手，爬梳吳晟鄉土詩風格的形成，描述詩人逐漸轉向貼近土地的歷程。〈陳銘磻的生命原鄉追尋〉跨越陳銘磻不同文類與風格的作品，探索作家經由書寫不同地方生活行旅的經驗、追逐心中桃源淨土的心靈旅程。〈全球生態意識的在地展現：吳明益《家離水邊那麼近》中的水域生態與族群文化景觀〉則論證吳明益如何在全球生態倫理的視野中，探討在地原住民文化、河流與海洋生態，以及現代科學知識三者之間的交互關係。
書評部分則收錄〈華語語系研究的種族化轉向：談史書美、蔡建鑫、貝納德合編的 Sinophone Studies: A Critical Reader 〉，評析該書在華語語系研究上的表現以及對於台灣文學研究的可能意義。
本期出刊，除感謝投稿人惠賜稿件及審查人的辛勞，同時也要感謝編輯委員會所有同仁施懿琳、游勝冠、廖淑芳、鍾秀梅和吳毓琪老師以及編輯助理許芳庭小姐在編輯工作上的辛勤付出，尤其鍾秀梅老師慷慨交付工作坊內容，使得本期有今日的呈現。（王右君）
2013年3月6日 星期三
編輯室報告（第3期）
編輯室報告（第3期）
復刊後《台灣文學研究》學報第三期終於順利出版了，要謝謝作者、審稿人及實際負責編務的芳庭的辛勞，有你們的付出，這本學報才能逐漸步上正常發刊的軌道。
本期共收六篇論文，由時代的先後順序來看：有研究熱度逐漸消退的日治時代的論文一篇，〈僻徑的身影：1925年前後的黃呈聰〉一文主要探討被定位為待機派的黃呈聰，於1925年後改信中國真耶穌教會，並將這番改宗視為自己從事民族運動的一環，將民族主義內化於宗教信仰之中的思考與歷程。黃凡一般被公認是對政治抱以絕對懷疑論的台灣後現代小說重要先鋒，回到七○年代黃凡早期作品的〈冷戰下的中國想像與反共意識型態：以黃凡〈青州車站〉、《零》為例〉一文，則挑戰了這種定見，指出在黃凡寫作充滿懷疑論式政治小說的同時，及跨入所謂後現代小說之前，也曾在世界的冷戰格局與國民黨的反共論述框架之下，寫出隱隱呼應官方冷戰╱反共意識形態的文學作品。時序進入八○年代，〈女人作為一種隱喻：黨外雜誌中政治性別化的民主隱喻〉一文，則以參與黨外運動的女性在黨外雜誌中如何被再現為分析對象，探討了戰士、受難兩種類型的女性形象的性別政治意義。這些史論性的論文，切入問題的視角儘管不同，但都對台灣文學史歷史細節的釐清，做出了一定的貢獻。
〈感官地圖，肉身廢墟：讀鍾文音《愛別離》、《慈悲情人》中的身體感知敘事〉及〈《古國琴人》之回歸主題：以榮格「原型」理論為分析框架〉兩篇論文都是處理當代女作家的作品，不過一以當代熱門的視角「身體」切入，一則復古地選擇榮格的「原型」進行分析，理論視角並無新舊之分，只有適不適用的問題，兩篇論文至少都通過了審查者的檢驗，相信都是精彩的論文。〈台灣歌仔戲中程式語言的作用：以歌仔戲「活戲」劇目為例〉一文則跳脫菁英作家、書齋的視野，來到野台，在「活戲」演出的現場，歸納、分析台灣歌仔戲的程式語言的模式與作用，相較於前兩篇論文對理論的引經據典，本文根據舞台演出所進行的分析，可謂別開生面。
以量而言，本期收集到的論文並不算多，雖然質方面不錯，通過了六篇論文，勉強應付了本期的出刊，不過這終究不是好現象，來稿量之少，與台灣文學系所的師生總量極不相稱，這可以說是台灣文學研究發展的一種警訊嗎？研究、寫作論文的動力為什麼逐漸流失了？值得各方傷腦筋想想。（游勝冠）
編輯室報告（第2期）
編輯室報告（第2期）
《台灣文學研究》為成大台文系學術刊物，第一期於2007年4月出版之後，第二期也緊鑼密鼓接著展開籌畫，徵有不少稿件，也有少數幾篇論文當時已通過審查。然後來因種種原因暫時停刊。相隔的五年期間，台灣文學在蓬勃發展中不斷壯大，台灣內部的台灣文學研究刊物，由之前僅有政大台文所《台灣文學學報》與台灣文學館《台灣文學研究學報》兩份刊物出版發行的草創面貌，迅速擴展至台大、師大、北教大都有台灣文學研究相關期刊的推出。如此壯大發展的狀況自然也如任何迅速發展的領域一樣，必然遭遇許多新的挑戰與衝擊。
在上世紀九○年代本土化過程中，人文社會學科陸續有台灣文學、台灣語文、性別、族群、客家⋯⋯等新興系所成立，欣欣向榮發展的同時，也面臨台灣急遽的政經結構變化、少子化、高等教育環境惡化，及全球化勢力席捲等問題與挑戰。近十年這些新興系所不論在系所招
生、課程內容架構、實際行政運作及學術競爭力等都有許多值得探討與關注的地方。因應不斷變化的局勢，這些不同新興系所可能面臨著不同的問題，但本質上，部份潛在性的危機應該是類似的。
本期復刊號因此除一般論文外，並以「新興人文社會學科的建制化與發展」為論壇專號，邀集幾個代表性的新興系所，就該系所建制化與發展的問題與未來展望提供看法，希望能刺激更多的省思與討論。他山之石可以攻錯，本刊也向香港嶺南大學文化研究系邀稿，相信文化研究在香港學院間的發展過程，可以提供我們參考及借鏡，更希望藉此而有跨地域跨領域的對話。
感謝為論壇供稿的陳萬益、邱貴芬、成令方、吳中杰、羅永生等幾位教授的寶貴意見。各領域都提出了自己所見所聞的現有成果與未來值得憂慮之處，部份也有較明確的對未來展望的建議。這只是一個拋磚引玉的嘗試，我們期待能在其中思考激盪出一些可能，即使目前處境愈來愈艱難，續航便是一種生命力的展現。
本刊也要對因停刊被延誤的原已通過審查之論文作者陳麗芬與申惠豐致上最深歉意，同時為與原進行中的第二期有所延續承繼，原第二期投稿數併入本期復刊號計算，在此一併說明。未來我們會朝向優良期刊的目標而努力，繼續秉持嚴謹的態度，深耕開拓台灣文學的土壤園地與學術版圖。（廖淑芳）
《古國琴人》之回歸主題：以榮格「原型」理論為分析框架
《古國琴人》之回歸主題：以榮格「原型」理論為分析框架
The Return Subject in An Ancient Musician: Based on Jung’s Archetype Theory
陳秀玲
Chen, Hsiu-ling
摘要
《古國琴人》是張瀛太第二部長篇小說，在她擅長的「異域書寫」系列中，此部小說仍承襲過去一貫的綺艷文采和玄靈情節，將故事背景架構在七百年前的吳哥王朝，虛構出神話人物「枯樹」以及一只名為「瞬」的古琴為引信，盡其妖魔鬼怪、悖情違理、濫情縱欲之能事，
展演人與蛇歡愛交媾、相互變形、彼此吞噬的詭異意象。本文試圖以榮格之原型理論分析小說中關於重生、輪迴、變形等神話母題，進一步還原蛇之原始意象加以探索，並將蛇視為一個象徵符號，藉由隱蔽、蛻皮、吞噬等本能模式，賦予人類投射其神祕、重生、回歸的慾望想像。
小說中展演人蛇交媾與繁殖的地底洞穴，在普遍原型指涉中通常為子宮之隱喻，因此遁入地洞儼然成為一種「重返母體」的儀式，隱喻萬物回歸大地之母的子宮，孕育生生不息的生命輪迴。最後作者將神話故事帶到二十一世紀歷史現場，企圖透過探險家與觀光客的夢境，為傳說找回曾經存在的訊息。然而，古琴最終被展示在博物館內，隱喻真相被供奉在知識框架中失去生命，如果朝聖和膜拜已成為回歸神話的儀式，那麼張瀛太創作現代神話故事，並試圖揭開真相回溯生命之初，其實也透露作家藉由書寫回歸內在心靈的渴望。
關鍵詞：張瀛太、古國琴人、榮格、原型理論、回歸
Abstract
An Ancient Musician is Chang Ying-Tai’s second novel. The work tells a mythical story that takes place 700 years ago in Angkor. The titular character is a musician who was born with the ability to become a snake although this ability only emerges when he has an orgasm. After which he swallows the woman who he has having sex with although he remains unconscious during the whole process. In this work, I analyze the topics of rebirth, reincarnation and transformation in the novel based on Jung’s Archetype Theory. The snake is a symbolic figure that represents rebirth and return. Furthermore, the underground cave where the musician has sex or gives birth can be related to the womb, and thus entering it is like a ritual return to the mother’s body. At the end of novel, Chang brings the story to the 21st century and reveals the true story through the dreams of an explorer and tourist. Finally, the ancient instrument is put on display in Swiss museum. It seems to imply that the truth can only be displayed within the frame of knowledge when it is dead. If people search the primary spirit by such a ritual of pilgrimage and worship, it assumes that Chang wrote a myth with the intent to make a “return path” back to her own spiritual world.
Keywords: Chang Ying-Tai, An Ancient Musician, Jung, archetype theory, return
檢視全文
The Return Subject in An Ancient Musician: Based on Jung’s Archetype Theory
陳秀玲
Chen, Hsiu-ling
摘要
《古國琴人》是張瀛太第二部長篇小說，在她擅長的「異域書寫」系列中，此部小說仍承襲過去一貫的綺艷文采和玄靈情節，將故事背景架構在七百年前的吳哥王朝，虛構出神話人物「枯樹」以及一只名為「瞬」的古琴為引信，盡其妖魔鬼怪、悖情違理、濫情縱欲之能事，
展演人與蛇歡愛交媾、相互變形、彼此吞噬的詭異意象。本文試圖以榮格之原型理論分析小說中關於重生、輪迴、變形等神話母題，進一步還原蛇之原始意象加以探索，並將蛇視為一個象徵符號，藉由隱蔽、蛻皮、吞噬等本能模式，賦予人類投射其神祕、重生、回歸的慾望想像。
小說中展演人蛇交媾與繁殖的地底洞穴，在普遍原型指涉中通常為子宮之隱喻，因此遁入地洞儼然成為一種「重返母體」的儀式，隱喻萬物回歸大地之母的子宮，孕育生生不息的生命輪迴。最後作者將神話故事帶到二十一世紀歷史現場，企圖透過探險家與觀光客的夢境，為傳說找回曾經存在的訊息。然而，古琴最終被展示在博物館內，隱喻真相被供奉在知識框架中失去生命，如果朝聖和膜拜已成為回歸神話的儀式，那麼張瀛太創作現代神話故事，並試圖揭開真相回溯生命之初，其實也透露作家藉由書寫回歸內在心靈的渴望。
關鍵詞：張瀛太、古國琴人、榮格、原型理論、回歸
Abstract
An Ancient Musician is Chang Ying-Tai’s second novel. The work tells a mythical story that takes place 700 years ago in Angkor. The titular character is a musician who was born with the ability to become a snake although this ability only emerges when he has an orgasm. After which he swallows the woman who he has having sex with although he remains unconscious during the whole process. In this work, I analyze the topics of rebirth, reincarnation and transformation in the novel based on Jung’s Archetype Theory. The snake is a symbolic figure that represents rebirth and return. Furthermore, the underground cave where the musician has sex or gives birth can be related to the womb, and thus entering it is like a ritual return to the mother’s body. At the end of novel, Chang brings the story to the 21st century and reveals the true story through the dreams of an explorer and tourist. Finally, the ancient instrument is put on display in Swiss museum. It seems to imply that the truth can only be displayed within the frame of knowledge when it is dead. If people search the primary spirit by such a ritual of pilgrimage and worship, it assumes that Chang wrote a myth with the intent to make a “return path” back to her own spiritual world.
Keywords: Chang Ying-Tai, An Ancient Musician, Jung, archetype theory, return
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感官地圖，肉身廢墟：讀鍾文音《愛別離》、《慈悲情人》中的身體感知敘事
感官地圖，肉身廢墟：讀鍾文音《愛別離》、《慈悲情人》中的身體感知敘事
The Map of Sensation and the Remains of Flesh:
The Body Experience Narratives in Chung Wenyin’s novels Departing Love and Merciful Lover
李欣倫
Li Hsin-lun
摘要
鍾文音作品中的母女、物件及旅行主題，連同其書寫特質，一向是論者所關注的焦點，然筆者發現，鍾文音的敘事具有「語詞就是身體」、「肉身覆蓋肉身」之特質，大量而細膩的身體感知不僅為小說塑造氛圍、推衍故事，更有其背後指涉，因此，筆者欲以兩本看似旅行、實則直指肉身本質的長篇小說《愛別離》及《慈悲情人》為核心，藉由書中角色對物質的睇視以及旅行過程對外在世界的感受，繪製感官地圖，並透過敘事者對身體的逼視與細察，直指肉身廢墟，追索身體／生存本質。筆者以為，此種飽含身體象徵的敘事風格，扣合著書中角色（敘事者及隱含作者）對身體的高度覺察，形式與內涵一貫，成為鍾文音作品中的重要特色。
關鍵詞：鍾文音、愛別離、慈悲情人、身體感知
Abstract
The theme of the relationship between mother and daughter, the gaze of objects and travelling experiences in Chung Wenyin’s works have attracted much attention in recent years. However, the narratives of the body experiences contained in these works are one of their most remarkable traits,
and are not only used to construct the plots, but also as profound metaphors worthy of further discussion. Therefore, this paper focuses on the narratives of body experiences in Departing Love and Merciful Lover to examine how Chung Wenyin depict the characters’ attitudes towards objects and travelling experiences in these two novels. In addition, it will also explore how she has tried to seek the core values of the flesh and existence through the descriptions of body experiences. The results show that Chung Wenyin is a writer who has consciously explored body experiences and highlighted the meanings of the flesh, as illustrated by her exceptional writing.
Keywords: Chung Wenyin, Departing Love, Merciful Lover, body experience
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The Map of Sensation and the Remains of Flesh:
The Body Experience Narratives in Chung Wenyin’s novels Departing Love and Merciful Lover
李欣倫
Li Hsin-lun
摘要
鍾文音作品中的母女、物件及旅行主題，連同其書寫特質，一向是論者所關注的焦點，然筆者發現，鍾文音的敘事具有「語詞就是身體」、「肉身覆蓋肉身」之特質，大量而細膩的身體感知不僅為小說塑造氛圍、推衍故事，更有其背後指涉，因此，筆者欲以兩本看似旅行、實則直指肉身本質的長篇小說《愛別離》及《慈悲情人》為核心，藉由書中角色對物質的睇視以及旅行過程對外在世界的感受，繪製感官地圖，並透過敘事者對身體的逼視與細察，直指肉身廢墟，追索身體／生存本質。筆者以為，此種飽含身體象徵的敘事風格，扣合著書中角色（敘事者及隱含作者）對身體的高度覺察，形式與內涵一貫，成為鍾文音作品中的重要特色。
關鍵詞：鍾文音、愛別離、慈悲情人、身體感知
Abstract
The theme of the relationship between mother and daughter, the gaze of objects and travelling experiences in Chung Wenyin’s works have attracted much attention in recent years. However, the narratives of the body experiences contained in these works are one of their most remarkable traits,
and are not only used to construct the plots, but also as profound metaphors worthy of further discussion. Therefore, this paper focuses on the narratives of body experiences in Departing Love and Merciful Lover to examine how Chung Wenyin depict the characters’ attitudes towards objects and travelling experiences in these two novels. In addition, it will also explore how she has tried to seek the core values of the flesh and existence through the descriptions of body experiences. The results show that Chung Wenyin is a writer who has consciously explored body experiences and highlighted the meanings of the flesh, as illustrated by her exceptional writing.
Keywords: Chung Wenyin, Departing Love, Merciful Lover, body experience
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女人作為一種隱喻：黨外雜誌中政治性別化的民主隱喻
女人作為一種隱喻：黨外雜誌中政治性別化的民主隱喻
Women as Metaphors:
Women as Metaphors for Democracy in Dang-Wai Political Discourse
李淑君
Li, Shu-chun
摘要
本文以1975年到1986年的黨外雜誌為觀察對象，論述參與黨外運動的女性如何被再現及其意義。本文認為黨外雜誌中所呈現的黨外女性以兩大類型反覆論述：即陽剛／陰柔、反性別常規／符合性別常規、戰士型／受難型的兩種面向呈現。陽剛／反女性傳統形象的論述以呂秀
蓮、陳菊、陳婉真與蘇慶黎「四大女寇」為主。「四大女寇」原本是國民黨對黨外運動四位女性的污名，但黨外雜誌以及黨外人士挪用了「四大女寇」來稱呼呂秀蓮、陳菊、陳婉真與蘇慶黎四人，並視為一種反叛國民黨的黨外力量，其呈現陽剛性與反對力量以象徵與彰顯民主運動的反對勢力。相對的，「代夫出征」論述則符合社會規範下強調女性必須陰柔、純潔、堅忍的特質，以「悲苦的」、「受難的」、「代夫出征」的女性來象徵民主的苦難之路。陰柔特質與民主苦難結合在一起形成一種隱喻。而「代夫出征」論述轉化到「鐵娘子」與「旋風現象」則暗示了黨外力量的再生。以上論述的幾種模式，包括具備奉獻犧牲精神、強悍俠義形象的「四大女寇」、民主苦難象徵的「代夫出征」女性、形單影隻的「受刑人太太」、強硬的「鐵娘子」形象、重新站起來的「某太太」與「旋風現象」，在這些論述當中，可以看見凡是出現陽剛特質的隱喻，都指向民主力量的出現與復興；而當出現柔性、淚水與悲情等待，都是指向台灣民主運動的受挫。黨外女性被放置在民主隱喻論述的位置，或者可以進一步說，黨外女性論述所隱喻的是民主歷程的發展。黨外女性出現戰士型與受難型；陽剛與陰柔特質的兩種對照，這兩種對照所進行的是一種民主反叛、受挫與再生的表述，而這兩種論述都是對台灣民主力量的隱喻。
關鍵詞：黨外雜誌、民主、性別象徵、代夫出征、政治論述
Abstract
This thesis focuses on Dang-Wai magazines (1975-1986) and discusses representations women as metaphors of democracy in Dang-Wai political discourses. The representation of Dang-Wai women can be classified into two categories: one is masculine “women-warrior”, and the other is feminine
“female-victim”. The “women-warrior” category is a metaphor for resistance against the KMT, while the “female-victim” is metaphor for the trauma of democracy. When a “female-victim” became powerful against the KMT, they would be represented as more masculine. The masculine and feminine have a hierarchal relationship, and signify different meanings of democracy in different
positions. In short, this essay analyzes how the women in these magazines served as metaphors for democracy.
Keywords: Dang-Wai magazine, democracy, gender symbolism, wife-on-behalf-of-husband in campaign, political discourses
檢視全文
Women as Metaphors:
Women as Metaphors for Democracy in Dang-Wai Political Discourse
李淑君
Li, Shu-chun
摘要
本文以1975年到1986年的黨外雜誌為觀察對象，論述參與黨外運動的女性如何被再現及其意義。本文認為黨外雜誌中所呈現的黨外女性以兩大類型反覆論述：即陽剛／陰柔、反性別常規／符合性別常規、戰士型／受難型的兩種面向呈現。陽剛／反女性傳統形象的論述以呂秀
蓮、陳菊、陳婉真與蘇慶黎「四大女寇」為主。「四大女寇」原本是國民黨對黨外運動四位女性的污名，但黨外雜誌以及黨外人士挪用了「四大女寇」來稱呼呂秀蓮、陳菊、陳婉真與蘇慶黎四人，並視為一種反叛國民黨的黨外力量，其呈現陽剛性與反對力量以象徵與彰顯民主運動的反對勢力。相對的，「代夫出征」論述則符合社會規範下強調女性必須陰柔、純潔、堅忍的特質，以「悲苦的」、「受難的」、「代夫出征」的女性來象徵民主的苦難之路。陰柔特質與民主苦難結合在一起形成一種隱喻。而「代夫出征」論述轉化到「鐵娘子」與「旋風現象」則暗示了黨外力量的再生。以上論述的幾種模式，包括具備奉獻犧牲精神、強悍俠義形象的「四大女寇」、民主苦難象徵的「代夫出征」女性、形單影隻的「受刑人太太」、強硬的「鐵娘子」形象、重新站起來的「某太太」與「旋風現象」，在這些論述當中，可以看見凡是出現陽剛特質的隱喻，都指向民主力量的出現與復興；而當出現柔性、淚水與悲情等待，都是指向台灣民主運動的受挫。黨外女性被放置在民主隱喻論述的位置，或者可以進一步說，黨外女性論述所隱喻的是民主歷程的發展。黨外女性出現戰士型與受難型；陽剛與陰柔特質的兩種對照，這兩種對照所進行的是一種民主反叛、受挫與再生的表述，而這兩種論述都是對台灣民主力量的隱喻。
關鍵詞：黨外雜誌、民主、性別象徵、代夫出征、政治論述
Abstract
This thesis focuses on Dang-Wai magazines (1975-1986) and discusses representations women as metaphors of democracy in Dang-Wai political discourses. The representation of Dang-Wai women can be classified into two categories: one is masculine “women-warrior”, and the other is feminine
“female-victim”. The “women-warrior” category is a metaphor for resistance against the KMT, while the “female-victim” is metaphor for the trauma of democracy. When a “female-victim” became powerful against the KMT, they would be represented as more masculine. The masculine and feminine have a hierarchal relationship, and signify different meanings of democracy in different
positions. In short, this essay analyzes how the women in these magazines served as metaphors for democracy.
Keywords: Dang-Wai magazine, democracy, gender symbolism, wife-on-behalf-of-husband in campaign, political discourses
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冷戰下的中國想像與反共意識形態：以黃凡〈青州車站〉、《零》為例
冷戰下的中國想像與反共意識形態：以黃凡〈青州車站〉、《零》為例
Imaginary China and Anti-Communism Ideology in the Cold War Period:
A Case Study of Huang Fan’s The Station of Qingzhou and Zero
陳佳琦
Chen, Chia-chi
摘要
黃凡一般被認為是一個對政治抱以絕對懷疑論與批判立場的小說家，且是公認的台灣後現代小說重要先鋒。但在他寫作充滿懷疑論式政治小說的同時，還有跨入所謂後現代小說之前，也曾在世界的冷戰格局與國民黨的反共論述框架之下，寫出隱隱應和官方冷戰╱反共意識形態的文學作品。
本文以〈青州車站〉為例，兼而觀察七○年代占據主流媒體的反共宣傳氛圍。嘗試指出，在鄉土文學論戰之後，但戒嚴與冷戰年代的反共意識形態仍深深扎根於主流媒體與日常生活的七○年代後期，這部短篇小說如何回應官方所提供的反共宣傳素材，進一步深化其美學力道，蛻變為意識形態上與政治當權曖昧暗合且受主流文壇推崇的作品。接著，藉由比較《零》、〈戰爭最高指導原則〉和歐威爾（George Orwell）《一九八四》等作，觀察此一冷戰下的反共論述基調與黃凡後來的科幻寫作路徑的關係，探問這與他向來的政治嘲弄態度和後現代寫作的轉折，是否具有更深的聯繫。並進而質疑，這些未曾清理過的冷戰思維與反共意識，是否仍在今日影響著我們對現實的認識。
關鍵詞：黃凡、青州車站、冷戰、反共、一九八四
Abstract
Huang Fan is generally considered to be a novelist of skepticism and political criticism. He is also recognized as an important pioneer of Taiwanese postmodern fiction. However, while writing his works of political skepticism and before becoming a “postmodernist”, Huang has also written fictions that carried the ideology of the Cold War and anti-Communism, which echoed the position of the KMT.
This article attempts to study Huang Fan’s work The Station of Qingzhou, and to outline the anti-Communist propaganda of mainstream media in the 70’s. I observe how this short story aestheticized and responded to the anti-Communist propaganda materials of the ruling party during the Martial
Law period, and emphasize that anti-Communist ideology was still deeply rooted in the day-to-day life after the Nativist Literature Debate. I consider the relationship between this Cold War anti-Communist discourse and Huang Fan’s later Si-Fi works, and probe the possibility of any deeper connection between this discourse and his political satire and postmodern turn through comparing
Zero, The Highest Guiding Principle of War and George Orwell’s 1984. Finally, I keep questioning whether these residue Cold War mentalities and anti-Communist ideology are still affecting our understanding of reality today.
Keywords: Huang Fan, The Station of Qingzhou, Cold War, anti-Communism, 1984
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Imaginary China and Anti-Communism Ideology in the Cold War Period:
A Case Study of Huang Fan’s The Station of Qingzhou and Zero
陳佳琦
Chen, Chia-chi
摘要
黃凡一般被認為是一個對政治抱以絕對懷疑論與批判立場的小說家，且是公認的台灣後現代小說重要先鋒。但在他寫作充滿懷疑論式政治小說的同時，還有跨入所謂後現代小說之前，也曾在世界的冷戰格局與國民黨的反共論述框架之下，寫出隱隱應和官方冷戰╱反共意識形態的文學作品。
本文以〈青州車站〉為例，兼而觀察七○年代占據主流媒體的反共宣傳氛圍。嘗試指出，在鄉土文學論戰之後，但戒嚴與冷戰年代的反共意識形態仍深深扎根於主流媒體與日常生活的七○年代後期，這部短篇小說如何回應官方所提供的反共宣傳素材，進一步深化其美學力道，蛻變為意識形態上與政治當權曖昧暗合且受主流文壇推崇的作品。接著，藉由比較《零》、〈戰爭最高指導原則〉和歐威爾（George Orwell）《一九八四》等作，觀察此一冷戰下的反共論述基調與黃凡後來的科幻寫作路徑的關係，探問這與他向來的政治嘲弄態度和後現代寫作的轉折，是否具有更深的聯繫。並進而質疑，這些未曾清理過的冷戰思維與反共意識，是否仍在今日影響著我們對現實的認識。
關鍵詞：黃凡、青州車站、冷戰、反共、一九八四
Abstract
Huang Fan is generally considered to be a novelist of skepticism and political criticism. He is also recognized as an important pioneer of Taiwanese postmodern fiction. However, while writing his works of political skepticism and before becoming a “postmodernist”, Huang has also written fictions that carried the ideology of the Cold War and anti-Communism, which echoed the position of the KMT.
This article attempts to study Huang Fan’s work The Station of Qingzhou, and to outline the anti-Communist propaganda of mainstream media in the 70’s. I observe how this short story aestheticized and responded to the anti-Communist propaganda materials of the ruling party during the Martial
Law period, and emphasize that anti-Communist ideology was still deeply rooted in the day-to-day life after the Nativist Literature Debate. I consider the relationship between this Cold War anti-Communist discourse and Huang Fan’s later Si-Fi works, and probe the possibility of any deeper connection between this discourse and his political satire and postmodern turn through comparing
Zero, The Highest Guiding Principle of War and George Orwell’s 1984. Finally, I keep questioning whether these residue Cold War mentalities and anti-Communist ideology are still affecting our understanding of reality today.
Keywords: Huang Fan, The Station of Qingzhou, Cold War, anti-Communism, 1984
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台灣歌仔戲中程式語言的作用：以歌仔戲「活戲」演出為例
台灣歌仔戲中程式語言的作用：以歌仔戲「活戲」演出為例
The Function of Formulaic Diction in Taiwanese Opera:
Exemplified with the Improvised Performance in Taiwanese Opera
劉南芳
Liu, Nan-fang
摘要
本文以台灣歌仔戲中「活戲」的演出為例，說明「程式語言」（formulaic diction）在口頭文學中的作用。透過演員建立「程式語言」的方式、探討這些常備片語如何在口傳戲劇中靈活的運用。
「活戲」又可稱為提綱戲、幕表戲、活詞戲⋯⋯等，台灣民間職業歌仔戲劇團至今仍保留「活戲」的演出形式。演員只憑藉一個口述的大綱就能上台演出，並沒有固定文本記錄的唱詞、對白做依據，就如同口頭詩歌的傳唱中，吟唱詩人需要記憶大量的「程式語言」幫助他們的表演，同樣的「程式語言」也成為「活戲」演員表演必備的工具。
本文敘述台灣的活戲演員建立「程式語言」的方式，包括演員必須熟練幾種基本人物的套語類型、掌握特定曲調慣用的歌詞套路、並配合不同情節的需要來活用程式語言等。由於活戲是一種帶有歌唱性質的戲劇表演，因此這些程式語言也必須考慮韻腳、以及歌詞的平仄聲調變化，還有歌詞與曲調結合的關連性。
當演員建立了自己程式語言的「詞庫」之後，面對不同的劇目、以及口頭講述的演出大綱，他就能將程式語言靈活地運用在舞台上。但是當台灣歌仔戲朝向定型書寫發展，以及新一代歌仔戲演員普遍接受過學校教育之後，常用的「程式語言」慢慢被文字記錄，也許會變為靠「書寫」而流傳，活戲表演終將會逐漸脫離「口傳」而造成本質上的改變。一如隨著社會的變遷和觀眾審美習慣的改變，歌仔戲的「活戲」演出或許不久之後也將會失傳。
關鍵詞：活戲、提綱戲、程式語言、口頭文學、套路段子
Abstract
This article will exemplify the functions of formulaic diction in oral literature by the example of the use of standardised script in the improvised performance of Taiwanese Opera. By looking at the ways the ways in which the actors established formulaic diction in their performance, this article
investigates and demonstrates the tradition of adapting formulatic diction in oral improvised theatres.
‘Improvised Act’ (Huo Xi in Chinese, meaning “living performances”) can also be called ‘summarised script’ (Tigang Xi ), ‘scenario script’ (Mubiao Xi ) or ‘improvised act’ (Huoci Xi ) , etc.. Whichever name it is called, the form of improvised performance is still largely adopted by professional Taiwanese Opera troupes. The actors improvise dialogues and flesh out actions according to a scenario that merely summarise the situations narrated to them orally. Because
the actors improvise without a fixed script, their performance is facilitated by memorising fixed formulaic diction the ways medieval troubadours replied on standardised formula in order to memorise the plot.
This article demonstrates the historical methods in which the actors of Taiwanese Operas have established their own formulaic diction: the numbers of stock characters the actors need to master, mastery of the routine lyrics for specific tunes and melodies, and the flexibility to adapt formula into differentscenarios. The adaption of formula need to factor in the intricacy of rhyming and metrical variation in lyrics, the relavency between lyrics and tunes as improvised act, in nature, is an operatic performance.
When she has fully incorperated various formulae into her own ‘vocabulary repertory’, an improvised actor can freely adapt them into different scenarios and summarised plot narrated to her orally. However creative and flexible this kind of improvised performance can be, the improvised performance is gradually on the wane as the new generation of Taiwanese Opera Troupes have now relied on fixed and printed scripts and the new generation of actors are now formally educated in schools. Along with the change of this move from the oral to the literary and printed tradition and the
change of the viewing conventions in the contemporary society, the oral form of performance may only be preserved in written records and the improvised performance will be lost soon.
Keywords: improvised act, summarised script, formulaic diction,
oral tradition, formulated acting technique
檢視全文
The Function of Formulaic Diction in Taiwanese Opera:
Exemplified with the Improvised Performance in Taiwanese Opera
劉南芳
Liu, Nan-fang
摘要
本文以台灣歌仔戲中「活戲」的演出為例，說明「程式語言」（formulaic diction）在口頭文學中的作用。透過演員建立「程式語言」的方式、探討這些常備片語如何在口傳戲劇中靈活的運用。
「活戲」又可稱為提綱戲、幕表戲、活詞戲⋯⋯等，台灣民間職業歌仔戲劇團至今仍保留「活戲」的演出形式。演員只憑藉一個口述的大綱就能上台演出，並沒有固定文本記錄的唱詞、對白做依據，就如同口頭詩歌的傳唱中，吟唱詩人需要記憶大量的「程式語言」幫助他們的表演，同樣的「程式語言」也成為「活戲」演員表演必備的工具。
本文敘述台灣的活戲演員建立「程式語言」的方式，包括演員必須熟練幾種基本人物的套語類型、掌握特定曲調慣用的歌詞套路、並配合不同情節的需要來活用程式語言等。由於活戲是一種帶有歌唱性質的戲劇表演，因此這些程式語言也必須考慮韻腳、以及歌詞的平仄聲調變化，還有歌詞與曲調結合的關連性。
當演員建立了自己程式語言的「詞庫」之後，面對不同的劇目、以及口頭講述的演出大綱，他就能將程式語言靈活地運用在舞台上。但是當台灣歌仔戲朝向定型書寫發展，以及新一代歌仔戲演員普遍接受過學校教育之後，常用的「程式語言」慢慢被文字記錄，也許會變為靠「書寫」而流傳，活戲表演終將會逐漸脫離「口傳」而造成本質上的改變。一如隨著社會的變遷和觀眾審美習慣的改變，歌仔戲的「活戲」演出或許不久之後也將會失傳。
關鍵詞：活戲、提綱戲、程式語言、口頭文學、套路段子
Abstract
This article will exemplify the functions of formulaic diction in oral literature by the example of the use of standardised script in the improvised performance of Taiwanese Opera. By looking at the ways the ways in which the actors established formulaic diction in their performance, this article
investigates and demonstrates the tradition of adapting formulatic diction in oral improvised theatres.
‘Improvised Act’ (Huo Xi in Chinese, meaning “living performances”) can also be called ‘summarised script’ (Tigang Xi ), ‘scenario script’ (Mubiao Xi ) or ‘improvised act’ (Huoci Xi ) , etc.. Whichever name it is called, the form of improvised performance is still largely adopted by professional Taiwanese Opera troupes. The actors improvise dialogues and flesh out actions according to a scenario that merely summarise the situations narrated to them orally. Because
the actors improvise without a fixed script, their performance is facilitated by memorising fixed formulaic diction the ways medieval troubadours replied on standardised formula in order to memorise the plot.
This article demonstrates the historical methods in which the actors of Taiwanese Operas have established their own formulaic diction: the numbers of stock characters the actors need to master, mastery of the routine lyrics for specific tunes and melodies, and the flexibility to adapt formula into differentscenarios. The adaption of formula need to factor in the intricacy of rhyming and metrical variation in lyrics, the relavency between lyrics and tunes as improvised act, in nature, is an operatic performance.
When she has fully incorperated various formulae into her own ‘vocabulary repertory’, an improvised actor can freely adapt them into different scenarios and summarised plot narrated to her orally. However creative and flexible this kind of improvised performance can be, the improvised performance is gradually on the wane as the new generation of Taiwanese Opera Troupes have now relied on fixed and printed scripts and the new generation of actors are now formally educated in schools. Along with the change of this move from the oral to the literary and printed tradition and the
change of the viewing conventions in the contemporary society, the oral form of performance may only be preserved in written records and the improvised performance will be lost soon.
Keywords: improvised act, summarised script, formulaic diction,
oral tradition, formulated acting technique
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僻徑的身影：1925年前後的黃呈聰
僻徑的身影：1925年前後的黃呈聰
The Figure on the Secluded Path: Huang Chien-Tsong’s Life after the Turning Point in 1925
鄧慧恩
Teng, Hui-en
摘要
黃呈聰被視為日治時期待機派知識分子，「中國」也被視為他的政治傾向。本文將1925年黃呈聰歸信中國真耶穌教會作為分界點，探討1925年前黃氏的著作、主張以及社會參與。黃呈聰在保甲制度、糖業、芭蕉買賣以及渡中旅券問題方面皆有著墨，著力推動中國白話文運動，也從世界的視野參酌台灣文化的特殊性，提出台灣與日本的文化應當採用「調和」而非「強制」同化的主張。而1925年後，黃氏改信中國真耶穌教會，並將這番改宗視為自己從事民族運動的一環，將民族主義內化於宗教信仰之中，不僅如此，這份信仰亦被黃氏視為拯救民族的救靈運動。
本文試圖將黃呈聰1925年後的人生與前半段銜接起來，作整體性的探討。同時，也探討與黃呈聰生命歷程緊密結合的真耶穌教會於日治時期的發展過程。
關鍵詞：黃呈聰、待機派知識分子、中國真耶穌教會
Abstract
This thesis aims to represent the attendance of social movement and religion practice from Huang Chien-Tsong’s（黃呈聰, 1886-1963）life after 1925 since we didn’t know much about it though some academic discussion had tried to figure out.
Before 1925, Huang was a son of a land owner and a promising one who had good career and won the high scale of respectability, therefore, he attended many social movements and wrote many articles about changing Taiwanese conception about political and social problems during the period of Japanese Government occupation. However, after1925, he accepted the special religion, Chinese True Jesus Church（中國真耶穌教會）, he combined his political tendency, Chinese- inclination, with this religion and took the road to determine his conviction that believing Chinese True Jesus Church was also a way to carry on turning Taiwanese into a kind of soul-puring race.
I want to discuss Huang’s published articles that he wrote no matter before or after 1925 to explore his understanding about Chinese and the particular parts of Taiwanese culture and life-style. And, it’s absolutely necessary to connect these with his personal life-practice in both social movements and
religious belief when we probe into his life after focusing on his achievements and works.
Keywords: Huang Chien-Tsong（黃呈聰）, waiting-for- chances, intellectuals（待機派知識分子）, Chinese True Jesus, Church（中國真耶穌教會）, the period of Japanese occupation,
Chinese- inclination
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The Figure on the Secluded Path: Huang Chien-Tsong’s Life after the Turning Point in 1925
鄧慧恩
Teng, Hui-en
摘要
黃呈聰被視為日治時期待機派知識分子，「中國」也被視為他的政治傾向。本文將1925年黃呈聰歸信中國真耶穌教會作為分界點，探討1925年前黃氏的著作、主張以及社會參與。黃呈聰在保甲制度、糖業、芭蕉買賣以及渡中旅券問題方面皆有著墨，著力推動中國白話文運動，也從世界的視野參酌台灣文化的特殊性，提出台灣與日本的文化應當採用「調和」而非「強制」同化的主張。而1925年後，黃氏改信中國真耶穌教會，並將這番改宗視為自己從事民族運動的一環，將民族主義內化於宗教信仰之中，不僅如此，這份信仰亦被黃氏視為拯救民族的救靈運動。
本文試圖將黃呈聰1925年後的人生與前半段銜接起來，作整體性的探討。同時，也探討與黃呈聰生命歷程緊密結合的真耶穌教會於日治時期的發展過程。
關鍵詞：黃呈聰、待機派知識分子、中國真耶穌教會
Abstract
This thesis aims to represent the attendance of social movement and religion practice from Huang Chien-Tsong’s（黃呈聰, 1886-1963）life after 1925 since we didn’t know much about it though some academic discussion had tried to figure out.
Before 1925, Huang was a son of a land owner and a promising one who had good career and won the high scale of respectability, therefore, he attended many social movements and wrote many articles about changing Taiwanese conception about political and social problems during the period of Japanese Government occupation. However, after1925, he accepted the special religion, Chinese True Jesus Church（中國真耶穌教會）, he combined his political tendency, Chinese- inclination, with this religion and took the road to determine his conviction that believing Chinese True Jesus Church was also a way to carry on turning Taiwanese into a kind of soul-puring race.
I want to discuss Huang’s published articles that he wrote no matter before or after 1925 to explore his understanding about Chinese and the particular parts of Taiwanese culture and life-style. And, it’s absolutely necessary to connect these with his personal life-practice in both social movements and
religious belief when we probe into his life after focusing on his achievements and works.
Keywords: Huang Chien-Tsong（黃呈聰）, waiting-for- chances, intellectuals（待機派知識分子）, Chinese True Jesus, Church（中國真耶穌教會）, the period of Japanese occupation,
Chinese- inclination
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