注目：重探一九八○年代香港文學

學術動態報導 

Report

注目：重探一九八○年代香港文學

Bring Back to Focus:

Re-exploring Hong Kong Literature in the 1980s

陳筱筠

Chen, Siao-Yun

摘要

        一九八○年代香港確定將於1997年回歸中國，這個歷史事件讓各地關注起香港，有關香港的政治前景、經濟發展、文化論述與文學想像等各層面的討論，在當時形成一股香港研究的熱潮。如果我們先僅以香港文學作為討論範疇，1980年～1997年是一段曾經被大量注目的階段，在後九七以後雖然仍有陸續的討論，以及許多重要學者們的持續努力耕耘，但香港文學的研究或討論在後九七之後的確有慢慢消減的趨勢。香港回歸至今17年時間，台港兩地的交流或社會發展在近年因為中國因素也產生多許可供參照的地方，現階段的我們，如果重新注目香港文學，一方面也許能避免當時在香港研究熱潮下，經常會把香港擺放在中英夾縫位置的單一想像，另方面也可擴大台灣文學與香港文學的討論範疇。

關鍵詞：一九八○年代、香港文學、香港研究熱潮

 Abstract

        In the 1980s it had been confirmed that the handover would take place in 1997. This historic issue brought Hong Kong to the focus of the whole world. There was a lot of discussion on Hong Kong about its political outlook, economic development, cultural discourse, and literary imagination, which facilitated the rise of Hong Kong studies. If narrowing down our discussion realm to Hong Kong literature, we can find that during the period of 1980s and 1990s, Hong Kong literature had become the central issue. After 1997, some relative discussion and discourse about Hong Kong literature continued and the devotion of scholars was as significant. Nevertheless, the studies of Hong Kong literature has the tendency to decline. Now 17 years have passed since the handover, it is necessary to re-explore Hong Kong in this phase since the factor of China has become a common subject that Taiwan and Hong Kong both have to face. It will help us to find a new frame to explore Hong Kong literature and enlarge the range of discussion of Taiwanese literature and Hong Kong literature.

Keywords: 1980s, Hong Kong Literature, the Rise of Hong Kong Studies

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從香港《大公報‧文藝》（1938-1941）編輯策略的本地面向檢討南來文人在香港的「實績」說

研究論文

Research Article

從香港《大公報‧文藝》（1938-1941）編輯策略的本地面向檢討南來文人在香港的「實績」說

On the ‘Actual Contributions’ of the Mainland Literati: AStudy Based on the Editorial Strategies of Hong Kong Ta KungPao ’s Literary Supplement (1938-1941)

樊善標

Fan, Sin Piu

摘要

        上海在一九三○年代是中國報業的重要基地，但自1937年底為日軍攻陷之後，報館紛紛停刊或向後方遷移。移至香港的上海報刊中，《大公報》為犖犖大者。香港《大公報》背負在中國大陸創辦三十多年來的名聲，其「文藝」副刊兩任編者蕭乾、楊剛也都是通稱的南來文人，皆努力以文藝支持抗戰，直至1941年底香港也為日軍所佔領，港版《大公報》停刊為止。後來的論者或主張這一時期的南來文人「以傳播新思想、新文化、新文學，宣傳抗日等實績性行為」，「掀起香港文學史上第一次文學創作高潮」。

        本文從香港《大公報‧文藝》的具體內容探討兩任編者編輯策略的本地面向，從而展示蕭乾、楊剛所代表的南來文人對香港本地的態度，反思他們的「實績」與香港文學的關係。本文認為前述論者以民族主義建構南來文人和第一代香港本地作者的傳承，並不符合史實。這種說法既未能切合當時多數香港居民的心態，同時也忽略了南來文人間的差異。如能承認文學評價不僅僅建基於民族意識，香港文學史或將展現另一種更有意思的面貌。

關鍵詞：《大公報》、「文藝」版、南來文人、香港文學史

 Abstract

        The Hong Kong Ta Kung Pao (1938-1941) inherited the anti-Japanese stand from its Shanghai counterpart. The editors of the newspaper’s Literary Supplement Xiao Qian (蕭乾) and Yang Gang (楊剛) were mainlanders who supported the anti-Japanese war through literary works. It was generally thought that the literati from the mainland of this period spread new ideas, new cultures, new-vernacular literature and anti-Japanese sentiments, as a result their actual contributions brought the first climax of the Hong Kong literature.

        This paper discusses the local perspectives of Xiao and Yang with reference to the newspaper’s literary supplements. The ‘actual contributions’ of Xiao and Yang to Hong Kong literature are carefully reassessed.

        This paper also argues that nationalism may not be the most important factor which influenced the first generation of local (Hong Kong) writers, and that the mainland literati are not single-minded. National consciousness should not be the only assessment criterion when we reconstruct history of Hong Kong literature.

Keywords: Ta Kung Pao, literary supplement, the mainland literati, literary history of Hong Kong

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知性的對決／孤絕的存在：一九五、六○年代白萩的詩論、詩作對「現代 詩」寫作的擴展與延伸

研究論文

Research Article

知性的對決／孤絕的存在：

一九五、六○年代白萩的詩論、詩作對「現代詩」寫作的擴展與延伸

Intellectual Reflection/Lonely Existence: Influences of Bai Ciou’s Poetics and Poetry in 1950s’ and 1960s’ on Enriching and Extending Modern Poetry

阮美慧

Juan, Mei-Hui

摘要

        白萩（1937―）十八歲時即展露了文學的才華，1955年以〈羅盤〉一詩，獲得「中國新詩協會」第一屆詩人獎的殊榮，當時被詩壇喻為「天才詩人」，備受詩壇矚目。因此，當時其詩論、詩作，對知性的對決、孤絕的存在等「現代」質素的大力著墨，都對「現代詩」的寫作，具有一定的啟發。

        其中，白萩雖強調「實驗」、「創新」的重要，但卻先在「傳統」與「個人」之間，重新思考彼此的關係，認為詩人並非屈就於傳統之下，而是要從「傳統」中跨越，並能夠超越傳統，這才是他對「現代」意涵的解讀。此外，他也特別提出詩的知性，分析情緒與情感的差異，同時，亦強調構思嚴密的結構、組織，才能使作品具有完整性及永恆性。在詩作技巧上，特別對詩的空間（繪畫性）及時間（音樂性）的設計，建立起詩中物我合一的原始性關係，使詩在意象、節奏、旋律上別出心裁，然而，這些新穎的方法，仍是為了展現詩的深刻意義，特別在一九五、六○年代，詩人對人生實存境況的探究，顯現人在現實中的孤獨感。而白萩的詩作，在語言精準的操控下，其「現代」精神的呈現，成為一種「異端的誘惑」，而為當時「現代詩」提供了新路徑。由此觀之，白萩做為一位真正的詩人，總是能夠走在時代的前端。

關鍵字：白萩、現代詩、知性的對決、孤絕的存在、詩的原始性關係

 Abstract

        Bai Ciou (白萩, 1937-) shows his literary talent at the age of 18. In 1955, he won the 1. Poetry Award from “Chinese Poetry Association” (中國新詩協會) for his work “compass” (羅盤). He is then hailed as a “poet of genius”, attracting much attention from his colleagues. Owing to this, his poetics and poetry, emphasizing the modern essences of lonely existence and intellectual reflection, has certain inspiration for the writing of modern poetry.

        

        Bai Ciou (白萩) emphasizes the importance of experiment and innovation. He re-thinks the relationship between tradition and individuals, and suggests that poets cannot be subordinated to tradition, but has to go through and transcend it. This is indeed his interpretation of modernity. Besides, he puts forward the intellectuality of poetry, analyzing the difference between emotion and feeling and emphasizing the strict structure and organization of ideas. Those are the elements which keep the poetry in its integrality and eternality. Technically, he focuses on the arrangement of space (pictorial) and time (musical) of poetry, building the original relationship between poetry and things, which makes the poetry innovative in its images, rhymes and melodies. These novel approaches are introduced for showing the deep meaning of poetry, the real situation of existence and the loneliness in the reality in 1950s’ and 1960s’. Bai Ciou’s (白萩) poetry, being written in accurate language, is a kind of “seduction of heresy” and offers a new approach for modern poetry. Bai Ciou (白萩), as a real poet, is always at the forefront of the times.

Keywords: Bai Ciou (白萩), modern poetry, intellectual reflection, lonely existence, original relationship of poetry

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日治初期警察官眼中的台灣原住民形象 ――以〈生蕃探險記〉為例

研究論文

Research Article

日治初期警察官眼中的台灣原住民形象

――以〈生蕃探險記〉為例

“SEIBANTANKENKI”: How Taiwanese Aborigines Were Perceived

by Japanese Police Officer in the Early Colonial Period

簡中昊

Chien, Chung Hao

摘要

        連載於雜誌《太陽》的〈生蕃探險記〉，可說是日治時代中最早以台灣原住民為題材的記述之一。日治初期，關於原住民的第一手資料，大多出自於位居山地行政第一線的日本警察官之手。然而警察官的「原住民記述」，多是以進行統治為前提的行政或法律文書，鮮少有以讀者大眾為目標的作品。本稿將以日治初期的山地警察官所寫的〈生蕃探險記〉為例，藉由探究探險記的生產背景與經過，以及探險記中呈現的觀點，一探日治初期對於台灣原住民的認識。

關鍵字：日治初期、台灣原住民、生蕃、太陽、探險

 Abstract

        “SEIBANTANKENKI” (A Description of Taiwanese Savages) were published in the magazine Taiyao (The Sun) as a series of short stories. They were some of the early documents focusing on Taiwanese aborigines in the Japanese colonial period. In the early years of the Japanese colonial governance, most of the first-handed “Works of Taiwanese Aborigines” were written by Japanese police officers residing in the mountains. Most of the police officers’ writings were administrative or legal paper

works based on the needs of governance; few of them were written for the general public. This paper will use “SEIBANTANKENKI”, which was written by a police officer in the early Japanese colonial period, as an example to explore the process and background of the writing, in order to understand how people perceive Taiwanese aborigines around that time.

Keywords: Japanese colonial period, Taiwanese aborigines, barbarian, Taiyao (The Sun) , exploration

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文學鬥爭、文學武器論、文藝大眾化——論賴明弘的普羅文論及其理論內在衝突

研究論文

Research Article

文學鬥爭、文學武器論、文藝大眾化

——論賴明弘的普羅文論及其理論內在衝突

Literary Struggle, Literary Weapon Theory, Literary Popularity:

On the Protarian Literature Theory of Ming-Hong Lai and its Inherent Conflicts

賴松輝

Lai, Song-Hui

摘要

        本文探討一九三○年代「鄉土文學」論戰期間，賴明弘與《南音》作者群有關文學的階級性、民族性的論戰。討論著重於三個問題：首先，從當代的台灣文學場域，探討雙方的配置位置、文學體制，擁有的文學資本，而位居文壇前輩及掌握刊物編輯權的《南音》，擁有的文學資源、權力遠勝於賴明弘。其次，賴明弘運用文學鬥爭批評，將文藝當作階級「武器」，批判《南音》、《台灣新民報》、新舊文學及第三文學為布爾文學；第三，從文學理論的合理性來看，賴明弘批判各文學文類時，在文藝武器論與文藝大眾化、中國白話文等理論之間，往往呈現自相矛盾。他從階級意識批判新文學是布爾文學，卻又從中國白話文肯定，顯現理論標準不一；最後，由於缺乏理論深化，對於葉榮鐘「第三文學」的民族性挑戰，幾乎毫無理論的反擊。

關鍵字：賴明弘、文學鬥爭、文學武器論、文藝大眾化、鄉土文學論戰

 Abstract

        The paper exams a debate of Folklore Literature during the 1930s, Ming-Hong Lai embarked a discussion on class and nationality with Southern Voice . Therefore, my research will focus on three themes. Firstly, I will draw difference among the power relationship, the literary system and the culture capital between Ming-Hong Lai and Southern Voice . Secondly, how Ming-Hong Lai launched a series of literary infighting to criticize other literary communities such as Southern Voice, Taiwan New Daily Newspaper, Modern Literature and the Third Literature as a Bourgeois Literature. Thirdly, I will focus on the limitation of Lai’s contradiction in terms of the reasonability of literary theory and the consistency of ideology. Meanwhile, Lai made no sense to attack his counterpart’s literature theory and failed to persuade us with his arguments.

Keywords: Ming-Hong Lai, literary struggle, literary weapon theory, literary popularity, folklore literature debate

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國姓爺 異托邦

特稿

Feature Article

國姓爺 異托邦 

L’hétérotopie Coxinga

布洛薩（羅獨秀）

Alain Brossat

羅惠珍　譯

Trans. Lo, Hui-Chen

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與談及回應：夏林清

針對 庶民視角的教習踐行：邊界文本與抵殖民的家園政治 一文的回應

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庶民視角的教習踐行：邊界文本與抵殖民的家園政治

論壇：庶民研究的教習踐行與文藝研究

Forum: Subaltern Studies as Pedagogies——Their Bearing on Literary Studies

庶民視角的教習踐行：

邊界文本與抵殖民的家園政治

Toward a Subaltern Pedagogy:

Border Texts and De-colonial Politics of Homeplace

廉兮

Lien, Hsi

摘要

        本文勾勒台灣教育市場化的處境與抵殖民教育的過程。作者嘗試以庶民視角探討教育者參與台灣在地實踐知識的生發，發展庶民視域的政治行動。殖民治理思維中的偏鄉地區，常被人文社會專業工作者視為政策補助與道德教化的對象。然而家園是人民互助團結的生活實踐所在，人們在清貧生活中的主體能動性不應被簡化的理解與對待。抵殖民的政治應立足於以家園作為生命創化與社會學習的教育基地。庶民視角的教育是多層次的政治運動，其間詮釋與實踐相互論詰：既要爭奪詮釋權的領空，也要建立以庶民的家園做為抵殖民的反抗基地。在「紮根」和「移動」的雙重視域中，進行自由、公共與抵殖民的庶民政治運動。

關鍵詞：庶民研究、抵殖民教育、家園政治、批判多元文化主義、實踐取向研究

 Abstract

        This paper illustrates the marketization of schooling and a decolonial process of education in Taiwan. The author intends to adopt the perspective of subaltern studies to investigate the educators’ engagement in the political action for decolonialization. The author points out that the internal-colonial governors often demoralizes the subaltern as groups of people who need to be fixed or helped. In fact, the subaltern groups who live in poverty are people with dignity and subjects with self-sufficiency. The author suggests that the subaltern’s homeplaces are sites of resistance against dehumanization; they are places where people strive to create innovative lives, and also those where social learning occurs. The author suggests that there are multiple layers of political space in de-colonial politics. Making efforts to understand the subaltern life world is as important as to take political actions for people to reserve their homeplaces as sites of social empowerment. Transversal politics emphasize rooting in communities and shifting perspectives. It helps to establish solidarity among people engaging in critical transformative dialogues.

Keywords: decolonialization, subaltern pedagogy, radical education, homeplace, praxis-oriented research

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印度—伊斯蘭千禧年中的聖人卡比爾

論壇：庶民研究的教習踐行與文藝研究

Forum: Subaltern Studies as Pedagogies——Their Bearing on Literary Studies

印度—伊斯蘭千禧年中的聖人卡比爾

Kabir in the Indo-Islamic Millennium

瓦戡卡爾

Milind Wakankar

丘延亮、張馨文　翻譯整理

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與談及回應：萬胥亭

針對 如何思考人民？——論葛蘭西「民族—人民的」概念 一文的回應

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如何思考人民？——論葛蘭西「民族—人民的」概念

論壇：庶民研究的教習踐行與文藝研究

Forum: Subaltern Studies as Pedagogies——Their Bearing on Literary Studies

如何思考人民？

——論葛蘭西「民族—人民的」概念

How to Think about the People?

On Gramsci’s Concept “National-popular”

陳越

Chen, Yue

摘要

        葛蘭西正面地談及「人民」的地方，總是在一個獨創的詞語中：「民族—人民的」。在義大利語中，「民族的」不等同於「人民的」，乃是「現代形式的義大利民族難產的反映」。「不平衡發展」引導我們去理解他所思考的對象――「人民」――的非同尋常的特性，以及他思考這個對象的非同尋常的方式，即像馬基雅維利那樣把「人民」的非概念的存在當作歷史的「永恆」起點去思考。這種思考與哲學家從歷史的「結果」――「人」――出發的道路完全相反，後者（以康德文本為範例）反映了資產者―市民按照自身形象對「人」進行塑造的歷史過程，即把「民族—人民」、「啟蒙」或歸化為「公民（Bürger）」的歷史過程。葛蘭西重新思考和重新提出「民族—人民的」概念的過程，表現為「理論的迂回」和「理論的加工」，特別是理論難題的重新提出，以及理論立場的重新確立。「陣地戰」的設想，構成了葛蘭西思想中最有力量的方面，包含著一種有機知識份子必須採取的「雙重立場」。所謂底層—庶民，就是葛蘭西在這種「雙重立場」中思考的問題：只有在「民族—人民的」統一過程中，「底層階級」才有能力書寫他們的歷史，尤其是他們解放的歷史。

 Abstract

        Whenever Antonio Gramsci refers to “the people” positively, this concept is always set in the context “national-popular”, a selfcoined expression. In Italian language, “national” is no equivalent to “popular”, but points to“the reflection of the national dystocia of Italy in a modern form”. “Unequal development” leads us to the extraordinary characteristics of his object—the people—and his unique way of thinking about it: that is, similar to Machiavelli, to regard the non-conceptual being of “the people” as an eternal starting point of history. However, this is completely opposite to philosophers’ approach which starts with the historical result—Man. The latter, taking Kant’s text as an example, indicates a historical process of bourgeois’ moulding Man according to their own images—to adopt “national-popular” and enlightenment as citizen (Bürger). The way Gramsci rethinks and re-proposes the concept “national-popular” appears to be a theoretical detour and a theoretical reworking, especially the re-proposing of theoretical problems and the re-establishment of theoretical position. His assumption, “the war of position”, constitutes the most powerful aspect of Gramsci’s thoughts, which includes a double position those organic intellectuals must take. Therefore, the so-called “subaltern” is the problem Gramsci thinks about in this “double position”: only in the unified process of “national-popular” can the subaltern class write about their own history, especially their liberation history.

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反叛者法農

反叛者法農
La Révolte de Frantz Fanon

賽澤爾

Aimé Césaire

林深靖　譯

Trans. Lin, Shenjing

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殖民主義未爆彈暨新型態殖民主義

專題演講
Keynote Speech

殖民主義未爆彈暨新型態殖民主義

Les Bombes à Retardement du Colonialisme et les Nouvelles Formes de Colonialism

米海兒‧法農

Mireille Fanon Mendès France

林深靖　譯

Trans. Lin, Shenjing

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編輯室報告（第6期）

        中秋襲來陣陣涼意，秋天是農民收穫的季節，也是學術社群半年的研究成果展現。《台灣文學研究》第六期，在編委會成員、審查委員與編輯助理團隊耐心的討論、審閱、修訂與編排下，終於出刊了。

        本期論壇收錄了2013年10月18、19日由本系所舉辦的「台灣文學研究的界線、視線與戰線」國際研討會部分精彩的內容。該會議由前系主任廖淑芳組織而成，她以最大的耐心，鍥而不舍地帶領師生團隊完成這場艱難的會議。活動聚集了海內外各方大師，從國外遠道而來的如革命家與精神分析師法農（Frantz Fanon）的女兒米海兒‧法農（Mireille Fanon Mendès France）、印度著名學者瓦戡卡爾（Milind Wakankar）、來自西安的葛蘭西權威陳越等人，為大會提供了人文研究的「界線、視線與戰線」的思考。

        在此會議基礎上，本期專題選擇「殖民主義」與「庶民研究」為主要議題。法農基金會負責人米海兒‧法農的專題演講稿〈殖民主義未爆彈暨新型態殖民主義〉，闡述新殖民主義透過跨國企業、國際銀行和金融大財閥，讓北方發達國家國家在全球化進程中繼續鞏固既定世界秩序，地球被切割成少數富人與多數窮人的世界。米海兒認為反抗是不可免的，呼籲重新召喚法農當年對抗宰制、剝削、異化機制的思想武器，團結面對一個荒謬、罪惡的社會、政治、經濟體制。

        本刊「庶民研究」專題，邀請到印度庶民研究很重要學者瓦戡卡爾談論〈印度―伊斯蘭千禧年中的聖人卡比爾〉。他深入探問宗教性（religiosity）在「非事件」（non-event）的反抗行為中的意義，探討其如何在歷史上構成一個「時節」（moment）使得部落原住民意識覺醒，以及原住民如何從個體性（individuality）生成階段進入到「政治社會」（political society）之中。中研院民族所研究員丘延亮的評論指出，瓦戡卡爾的研究正可以提供台灣與華南地區在歷史上以宗教為名的農民反叛事件的另一種思路。

        陝西師範大學陳越副教授所貢獻的〈如何思考人民？論葛蘭西「民族―人民的」概念〉一文，探究庶民（subaltern）的有機知識份子的「雙重立場」，即以社會集團（階級）在「民族―人民」的過程中，唯有「底層階級」才有能力書寫他們的歷史，尤其是解放他們的歷史。本校中文系副教授萬胥亭評論陳越教授，認為人民―民族的統一辯證需建立於自由主義與馬克思主義迂迴複雜的理論與實踐的脈絡思考，以「文化領導權來追求民族統一，人民獨立自主，他要展現的是一種人民的創造精神」。

        東華大學課程設計與潛能開發學系副教授廉兮所發表的〈庶民視角的教習踐行：邊界文本與抵殖民的家園政治〉一文，為多年來研究者在花東地區從事邊緣群體行動研究的成果。廉兮認為庶民視角的教育是多層次的政治運動，其間既是爭奪詮釋權的，也要以庶民的家園作為抵抗殖民的反抗基地。輔大應心系教授夏林清、中央大學性╱別研究室丁乃非教授也分別回應了廉兮教授的研究教習踐行。

        論壇與專題之外，本期收入四篇研究論文，分別是賴松輝的〈文學鬥爭、文學武器論、文藝大眾化——論賴明弘的普羅文論及其內在衝突〉、簡中昊的〈日治初期警察官眼中的台灣原住民形象——以〈生蕃探險記〉為例〉、阮美慧的〈知性的對決／孤絕的存在：一九五、六○年代白萩的詩論、詩作對「現代詩」寫作的擴展與延伸〉、與樊善標的〈從香港《大公報‧文藝》（1938-1941）編輯策略的本地面向檢討南來文人在香港的「實績」說〉。這些研究論文都展現了她（他）們的研究貢獻。

        本期特稿邀請到法國巴黎第八大學哲學系名譽教授布洛薩（Alain Brossat）的〈國姓爺 異托邦〉專文。布洛薩這篇文章是為2010年在法國巴黎大學所舉辦的「思考十七世紀戰爭」研討會而寫，他高度評價鄭成功與荷蘭人的戰爭，深入分析國姓爺所建立的「漂浮主權」，為台灣史與台灣文化研究帶來新的思考。學術動態報導部分則為本系博士生陳筱筠的〈注目：重探一九八○年代香港文學〉一文，分享一九八○年代之後香港文學的發展。

        本期順利出刊，要感謝研究者的努力與審稿人的細心，同時這份工作是集體努力的結果；編輯委員會成員施懿琳、游勝冠、廖淑芳、王右君、和吳毓琪老師，與編輯助理王維碩、劉庭彰的貢獻。最後，要感謝長期協助本系法文翻譯的羅惠珍與林深靖，她（他）們都嫻熟歐洲文化與政治，也都是文化評論工作者，長期為「亞洲週刊」撰稿。

（鍾秀梅）

社群的「現代」意義：以「櫟社」暨其詩人作品為研究中心

研究論文Research Article

社群的「現代」意義：以「櫟社」暨其詩人作品為研究中心

The modernity of society: Focusing on the Li Poetic Organization

李知灝

Li, Chi Hau

摘要

櫟社，在過去的研究中常被認為抗日的遺民社團，然而從近年陸續出土的文獻與相關論述中，卻發現櫟社在日治時期對現代新知的吸納，並產生領先當代的現代意識與行動。這或是由於櫟社此一社群在組織、活動上的特殊性，進而讓成員間相互激盪，產生對現代深度認識。

而從相關的文獻中也可看到，在詩社組織方面，櫟社在成立之初就訂定相當明確之規範，且在實際運作上也未偏離這項準則。無論在例行事務或爭議事件，櫟社成員都遵循規範議定，呈顯出組織的現代性。而在文化空間的形構與經營方面，也可發現櫟社成員以詩社作為文化的公共空間，邀請文人訪問、進行文化講演或與其它社群交流，這也促進社群內部成員或周邊社群對現代社會的認識。另一方面，在社群內部透過「同題共作」的創作機制，讓成員能針對現代議題進行多層次的思考。或是社群成員相互激盪，展現社群對現代文明的追尋。這都顯現社群組織與活動的現代意義，也突顯櫟社在當代的前衛與進步。

關鍵字：櫟社、啟蒙、現代性、台灣古典詩、台灣文學

Abstract

The Li Poetic Organization has always been considered a Loyalist group which fought against Japanese government in Japanese colonial period, but this definition could be adjusted to a new vision by organizing all the modern documents and reviews revealed in recent years. Li Poetic Organization was found to be able to absorb modern knowledge and to create modern consciousness and movements. The uniqueness of this organization was able to inspire their members and lead them to modernity.

The modernity of Li Poetic Organization is very clear. A specific regulation needed to be obeyed was set from the beginning of this society and had never been diverged. Interviews of scholars, literary lectures and other cultural communications had been held in this community to provide its members a further understanding of the modern society. On the other hand, a system of composing same topics encouraged the members in this organization to have multiple thinking or brainstorming over the modern culture. From all the above, the modernity and avant-garde meanings of this organization had been specifically revealed and highlighted.

Keywords: Li Poetic Organization, enlightenment, modernity, Taiwan classical poetry, Taiwan Literature

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失傳的廖添丁——全本《臺灣義賊新歌廖添丁》中的庶民話語

研究論文Research Article

失傳的廖添丁

——全本《臺灣義賊新歌廖添丁》中的庶民話語

The lost “Liau,Thiam-ting”: the plebeian discourse of “Tai-uan gi-tshat sin-kua Liau Thiam-ting” in the complete edition.

柯榮三

Ke, Jung-san

摘要

今日廖添丁為人所熟知的「劫富濟貧」、「抗日英雄」等正面形象，是起源於神威顯赫的口頭傳說，再歷經各種傳播媒介如歌謠唱本（歌仔冊）、便宜小說、通俗讀物、戲劇、說書等長期累積堆疊而成。相較於其他文類，《臺灣義賊新歌廖添丁》可以說是戰後刊行之第一部完整敘述廖添丁一生傳奇的長篇文學作品，可惜的是，《臺灣義賊新歌廖添丁》的完整內容卻有半數幾近失傳。

本文擬先完整披露新發現的《臺灣義賊新歌廖添丁》全十二本（1955）之內容梗概。歌仔冊原就廣受臺灣民間歡迎，巧合的是，我們意外發現編著者梁松林（1889～？）與廖添丁（1883～1909）生活於同一時代、活動在同一地區，是故，《臺灣義賊新歌廖添丁》所敘實可作為一九五○年代臺灣庶民心目中的廖添丁代表話語。歌仔冊中的廖添丁雖然屢犯大案，穿牆踰戶，但人們相信他絕非窮凶極惡的「強徒」；即使犯下殺人重罪，也是廖添丁替天行道，被害者死有餘辜，對一九五○年代的臺灣人而言，廖添丁可以說是極具修養、道德者。

《臺灣義賊新歌廖添丁》或許未如其他文類，在廖添丁積極抗日的民族精神上多所著墨，然而卻徹底翻轉日治時代「兇盜」、「兇賊」、「梟賊」、「惡鬼」等官方論述，其所敘劫富濟貧、扶弱鋤強、仗義輸財、慷慨正直，甚至死後超凡入聖等事蹟，都是人們受到不公不義的壓迫時，最希望得到救贖的浪漫幻想，《臺灣義賊新歌廖添丁》正是以這樣貼近庶民的話語，吟唱廖添丁傳奇的一生。

關鍵詞： 廖添丁、歌仔冊、梁松林、劫富濟貧、話語

Abstract

Liau, Thiam-ting(廖添丁, 1883~1909) was the famous “Good Outlaw”(the bandit who was robbing the rich to help the poor) in Taiwan. The “Tai-uan gi-tshat sin-kua Liau Thiam-ting” (臺灣義賊新歌廖添丁, 1955) was a Taiwanese ballad that talking about Liau Thiam-ting’s stories.

In the past, we could found only 6 volumes of “Tai-uan gi-tshat sin-kua Liau Thiam-ting.’’ But now we find out the complete edition of “Tai-uan gi-tshat sin-kua Liau Thiam-ting” (1955) which has 12 volumes.

    The complete edition “Tai-uan gi-tshat sin-kua Liau Thiam-ting”(12 volumes) was written by the Taiwanese author “Niu, Siong-lim(梁松林, 1889~?)” Accientally, we  realize that the author “Niu, Siong-lim” was also living in Taipei city and in the Japanese colonial era.

In the past, Taiwanese ballad was a popular literature in Taiwan. The content(thought) of “Tai-uan gi-tshat sin-kua Liau Thiam-ting” was closed to the thoughts of civilian.

Consequently, in “Tai-uan gi-tshat sin-kua Liau Thiam-ting,” we could find that people think Liau was a “Good Outlaw” who robbed the rich to help the poor and liked to give money to someone in need. So, after he die, he became a great model of noble.

Keywords: Li Poetic Organization, enlightenment, modernity, Taiwan classical poetry, Taiwan Literature

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再現過去：歷史的多種形式初探——以泰雅族文化的書寫及霧社事件漫畫為例

研究論文Research Article

再現過去：歷史的多種形式初探

—以泰雅族文化的書寫及霧社事件漫畫為例

Representing the Past:A Pilot Study of Various Forms of History

-- Examplied by Atayal Cultural Writing and Wushe Incident related Comics

黃國超

Huang, Kuo-Chao

摘要

在許多的研究中，線性歷史（linear history）與循環歷史（cyclical history）經常被用來區辨兩種不同歷史心性下的歷史時間觀念。這兩種歷史心性之別，或被解釋為西方與非西方的，或被視為文字書寫文化與無文字書寫文化的，或是「近代民族主義下」與「傳統歷史心性」的區分（引自王明珂1999：283-342）。

在本文中，我以泰雅族gaga的故事，先說明泰雅的歷史心性既非線性亦非循環歷史，而是重複強調一種小社會合作的團結基礎—倫理關係—以此形成共罪與共作的生產團體。這些gaga中所表達的，強調人群間根基情感的歷史心性，曾經流行於過去的泰雅社會中，而至今這些理解仍存於許多當代泰雅人的認知裡，我將gaga的敘事故事稱之為根基歷史（primordial history）。本文以「歷史如何再現」的問題意識出發，透過幾個不同階段的文本表現類型，探討泰雅族文化、文學書寫、霧社事件漫畫等再現過程中所呈現的書寫權力問題，並重新思索文化詮釋與建構中，創作者個人與文本成果之間的關係性。

近百年來的外來殖民對於泰雅族來說，是一個從「無文字」到「文字化」的過程，文字書寫的介入伴隨而來不同族群間歷史政治的交混，外來政治勢力與文化的爭霸，不僅造成泰雅人主體的失落、自我扭曲，不同政權間亦不斷競逐、角力各種統治意識型態的詮釋觀點。在歷史解釋權的爭奪中，我們在幾位泰雅族、賽德克族人身上，可以看到gaga/gaya根深蒂固的影響力，這種根基歷史的召喚，也是泰雅族與賽德克族人與其他族群作者在書寫起點的根本差別。

關鍵字：書寫、泰雅族、再現、歷史、霧社事件

Abstract

In many studies, it is common to use linear history and cyclical history to distinguish two kinds of mindsets of time frames. These two historical mindsets sometimes are expressed as western vs non-western, written-form cultures vs non-written-form culture, or ‘modern nationalistic’ vs ‘traditional historical mindset’(王明珂1999：283-342).

In this article, I use Atayal’s‘gaga’ stories as examples. I intend to explain why Atayal’s historical mindset has been neither linear nor cyclical, but an emphasis on repeating a united base for a small society, the relationship in ethic level. Atayal have created a collective production unit around the base, with sharing the sense of guilt- and work . These ‘gaga’ stories show the historical mindset based on interpersonal affections. This kind of historical mindset used to be prevailing in Atayal societies, and still exists in many Atayal people’s perceptions. I call the narrative stories in ‘gaga’ collectively as ‘primordial history.’ This article starts by the awareness to the question of ‘how to represent history,’ then use text expressing forms of different stages to discuss the writing rights issues aroused when the Atayal culture, literature writings and Wushe incident related comics were represented. Finally I would try to reconstruct the connection between authors and resulting texts, in the context of cultural interpretation and construction.

To the Atayal, being ruled by the different colonial authorities in recent hundred years constituted a process, leading them from ‘wordless’ to ‘writing’. When they were firstly exposed to writing, they had to face the associated historical and political conflicts of different ethic groups. Not only the competitions among intruding political forces and cultures made Atayal people lose their own autonomy and twist their self identity, but various ruling regimes constantly competed for the position for interpretation, based on imposed ideologies. We can see the inherent influences of ‘gaga’ in some Atayal and Seediq people. In the beginning toward writing, the calling rooted in history is the fundamental difference between Atayal and Seediq and other ethnics.

Keywords: writing, Atayal, representation, history, Wushe Incident

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缺憾還諸白氏父子：為「白崇禧與將軍題聯」拾遺補綴

研究論文Research Article

缺憾還諸白氏父子：為「白崇禧與將軍題聯」拾遺補綴

Historical Regrets for the Pai Father and Son:

Fact Discovery in “General Pai Chung-hsi and His Couplets of Loyalty”

鄭梓

Cheng,Woody

摘要

去年（民國紀元101年）四月間，名滿天下的白先勇自承十多年來埋首故紙堆中一心一意要為父親立傳、要還原真實民國史的夙願，終於部分實現了，終於在台海兩岸—台灣、中國大陸與香港三地各大城巡迴發表新書──《父親與民國：白崇禧將軍身影集》。書中係以數百枚像片為主，附上數萬字的簡明圖說，故題曰「身影集」，此亦不過係傳將相繼出版的《白崇禧全傳》之序曲序篇罷了。

如論白氏這部為父立傳、或為還原民國史的鉅著不論是《身影集》抑或全傳全集，概皆劃分為上下兩集，上集為大陸時期、下集為台灣歲月，幾乎篇幅相當，實則白將軍在中國大陸馳騁疆場數十載、文韜武略、意氣風發，而侷促台灣小島卻僅僅抑鬱且寂寥的十七個寒暑；作者之所以採此不均衡的編纂策略，當然隱含著強烈的史觀，強烈要和後半部、大半部的「民國史在台灣」相連結，但如何得以血脈相繫、命運與共的貼切連結、真心實意的緊密連結呢？

本文即聚焦於白崇禧和戰後台灣的二二八事件、白氏二二八期間於台南延平郡王祠內如何「題聯」、究竟題了什麼樣的聯等，尤對《白將軍身影集》中已現的侷限抑或以訛傳訛之處，做些飣餖考訂、實地查訪、拾遺補綴的工夫。

關鍵詞：白崇禧（Pai Chung-Hsi）、白先勇、戰後台灣、二二八事件（February 28 Incident ）、宣慰台胞（ pacification of Taiwan people ）

Abstract

In April, 2012, Hsien-yung Pai published a photography-based book Father and the Republic: Impressions of General Pai Chung-hsi simultaneously in Taiwan, Hong Kong and China. Pai stated that he spent more than a decade on historical research in order to write this work, which is both a biography of his father and a new look at Republican history. The book features hundreds of images, and the accompanying text gives a detailed account of the relationship between General Pai and the Republic of China. However, this book was simply a prelude for the follow-up publication of The Biography of Pai Chung-hsi.

Both books come in two volumes to present the life of Pai Chung-hsi, with each volume containing approximately the same number of pages. The first volume covers his military life on the Chinese mainland, and the second volume documents his 17 years in Taiwan. General Pai distinguished himself as a brilliant military commander of the forces for several decades in China, but then led a melancholy and lonely life in Taiwan. The author establishes historical connections between the second half of each biography and the issue of Republican history in Taiwan, and it is this issue that is examined in this paper.

More specifically, this study focuses on the relationship between General Pai and the February 28 Incident, the couplets that he wrote after this event and later was inscribed at Tainan Koxinga Shrine, and the actual historical facts underlying the narrative presented in the two biographies.

Keywords: Pai Chung-hsi, Pai Hsien-yung, Taiwan after World War II, February 28 Incident, Pacification of the Taiwanese people

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行方不明：白色恐怖與戰後台灣知識分子的認同軌跡——以台南案楊德宗口述歷史為例

研究論文Research Article

行方不明：白色恐怖與戰後台灣知識分子的認同軌跡

——以台南案楊德宗口述歷史為例

Whereabouts Unknown: White Terror and the Identity Track of Taiwanese Intellectuals in the Post-war Era

An Oral History of Yang De-zong in Tainan’s Case

楊雅惠

Yang, Ya-Hui

摘要

本文以台灣戒嚴時期白色恐怖一受難個案——台南案楊德宗為例，探討這一代知識分子，何以在戰後的歷史新章靜默無聲宛若缺席？楊德宗以一殖民地秀異子弟的身份，由本土文化孕育，日式教育養成；戰後在時代轉折裂隙的二二八風暴中，開啟了台灣主體意識；至五Ｏ年代壓制異議份子的白色恐怖時期，因參與讀書會討論國是，而被以「參加叛亂組織」繫捕入獄，判刑五年，人權自由深受傷害。出獄後解嚴前，只能以一潛隱斷裂的身分，壓抑自己深層的本土意識。其身分之軌跡，曲折迷離，斷裂不明，無異於跨越終戰時代知識分子的主體認同史。本文試圖開啟塵封檔案，考掘他們在翻越時代的山嶺時，如何因正義直覺，勇於承擔家國責任，卻顛躓震盪險些失足？透過楊德宗的口述歷史，徐徐撥開陳年灰土，挖掘隱藏在他們那一代意識深處的受難記憶，努力描繪這一輩世紀轉折的精神軌跡。

關鍵詞：白色恐怖、台灣知識分子、認同、台南案、楊德宗

Abstract

This paper aimed to discuss a victimization case during the martial law era in Taiwan, the case of Dezong Yang in Tainan, and explored the absence and quietness of the intellectuals of his generation in the post-war history. Dezong Yang is a son of colonial academic elites nurtured by local culture and Japanese education. The Taiwan consciousness was raised during 228 Incident, which is the transitional fracture of the post-war era. The 50s was a period in the White Terror when all dissidents were suppressed. Having participated in a study group where intellectuals discussed about state affairs, Dezong Yang was imprisoned for five years due to his “participation in a rebel group”, for which his human right was seriously violated. After his release before the end of the martial law era, he could only identify himself with an occulted and ruptured identity, suppressing his inner local consciousness. The trajectory of his identity was tortuous, blurred, fractured and unclear, which is tantamount to the subject identity history of the other intellectuals across the end of the post-war era. This paper attempted to reexamine these archives as to discover why they assumed the responsibilities of the state with their intuition of justice in that turbulent era with the danger of tumbling down and falling. Through the oral history narrated by Dezong Yang, we revealed the past, dug deeply into the memory of victimization and tried hard to describe the spiritual trajectory of the generation experiencing the transitions of the 20th century.

Keywords: White Terror, Taiwanese intellectuals, identity, case in Tainan, Dezong Yang

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「我是棄」——論駱以軍《棄的故事》之主體認同與遺棄美學

研究論文Research Article

「我是棄」──

論駱以軍《棄的故事》之主體認同與遺棄美學

“I am abandon” ─ discuss the identity and the abandonment esthetics of Lo,Yi-Chin’s poetry "Abandoned Story"

李癸雲

Lee, Kuei-Yun

摘要

台灣當代小說家駱以軍於二○一三年再版處女作詩集《棄的故事》，並多次陳述詩的特殊意義，如「詩是我的小女兒」、詩是「單薄的、拘謹的生命原形」等，因此啟發本文深探駱以軍詩歌寫作意義的研究興趣。此外，集中充滿強烈的遺棄意識，本文也將試圖參照精神分析學說裡的主體理論，以理解駱以軍多次陳述「我是棄」的心理意義，說明他如何藉著回返原初生命來重建主體性；並借鑒「賤斥」（abjection）理論來討論駱以軍如同透過「不斷遺棄」與剝開「髒污」的詩語書寫，成就一種「遺棄美學」。

關鍵詞：棄的故事、主體性、遺棄美學、鏡像階段、賤斥

Abstract

“I am the abandoned”: On Luo Yijun’s Subjectivity and Aesthetics of the Abandoned in The Story of the Abandoned

The Taiwanese novelist Luo Yijun republished his first poetry collection, The Story of the Abandoned, in 2013 and claimed many times the special significance of poetry to his own life. Statements like poetry as his youngest daughter and poetry as the primary form of flat, constrained life may sound strange, but could be inspiriting to the researchers who aim to explore the meaning of poetry writing for Luo Yijun. With reference to psychoanalytic theory, this paper intends to explicate Luo Yijun’s self-consciousness of being abandoned and the way in which he reconstructs his subjectivity by returning to the primary form of life. Based on the theory of abjection, this paper further explores how Luo Yijun accomplishes his aesthetics of the abandoned through the ruthless uncovering of the filthy and the unceasing writing of the abandoned and being abandoned.

Keywords: The Story of the Abandoned, subjectivity, aesthetics of the Abandoned, mirror stage, abjection

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編輯室報告（第5期）

編輯室報告（第5期）

   復刊後的《台灣文學研究》持續在兩年間穩定出刊，這對重新出發的成大台文系學報而言，格外令人歡喜。這一期來稿達二十多篇，感謝所有踴躍賜稿的學者們，其中難免有遺珠之憾，然而這也顯現出本刊審查機制的嚴謹。

    本期共刊登八篇文稿，首先是詩人葉維廉先生的特約稿Classical Taiwan Poetry，這是葉先生在美國加州大學為大學生介紹臺灣古典詩時英譯的作品，內容涉及台灣傳聞、歷史人物、詩體承襲轉用、台灣風俗等；在台灣文學努力向外譯介的今天，葉先生的嘗試值得矚目。研究論文共有七篇，依時代先後排序：〈千態萬形，莫可擬仿：清代台灣與內地〈擬鮑明遠舞鶴賦〉試析〉一文，以清代賦家曹敬的「擬古賦」為起點，透過「互文性」的角度，探索台灣賦的書寫，既有本土的特色，又可以放在清帝國賦學的脈絡下進行比較分析，為「台灣賦」的研究拓展視野。〈社群的「現代」意義：以「櫟社」暨其詩人作品為研究中心〉一文，嘗試從吸納現代新知，產生領先時代的意識與行動之面向，探索日治時期傳統漢詩社「櫟社」所可能開展出的現代意義。〈失傳的廖添丁——全本《臺灣義賊新歌廖添丁》中的庶民話語〉，透過文獻考索，披露新發現的全十二本廖添丁歌仔冊，從中勾勒1950年代臺灣人心目中「義賊」廖添丁的形象，透顯了庶民內心對正義公理的想望與期盼。〈歷史的演替與書寫權力──論泰雅族神話與文化的再現問題〉一文，以「歷史如何再現」的提問出發，探討泰雅族文化、文學書寫、霧社事件漫畫等再現過程中所呈現的書寫權力問題，並重新思索文化詮釋與建構中，創作者個人與文本之間的關係。至於〈缺憾還諸白氏父子：為「白崇禧與將軍題聯」拾遺補綴〉與〈行方不明：白色恐怖與戰後台灣知識份子的認同軌跡〉兩篇，都涉及戰後白色恐怖所可能產生的扭曲與錯謬，不管是來自中國的將領白崇禧或台灣知識青年楊德宗，都在政治的巨大陰影下，抱著遺憾與惘惘的傷痛，瘖啞乃至缺席了。透過文獻史料、口述訪談的增補，兩文皆嘗試勾勒戰後來台/在台人民的受難記憶及其精神軌跡，可以相互參照。〈「我是棄」──論駱以軍《棄的故事》之主體認同與遺棄美學〉一文，從精神分析學說的「主體理論」，解析駱以軍詩集《棄的故事》裡的主體重建；並借鑒「賤斥理論」討論駱以軍如同透過「不斷遺棄」與剝開「髒污」的詩語書寫，成就其「遺棄美學」。

    總體說來，這一期學報內容相當豐富，從清代、日治到戰後皆有論文探討，作者涵括了老、中、青三代；論文內容跨越了精英/庶民、漢人/原住民、古典/現代……為台灣文學與文化的研究開展了更多的可能。最後要謝謝與我一起擔任主編工作的吳毓琪，以及編輯委員會的同仁：王右君、游勝冠、廖淑芳、鍾秀梅諸位老師，幫忙審閱英文摘要的吳玫瑛老師，還有先後擔任編輯助理的許芳庭、陳瀅州兩位優秀的年輕朋友，由於大家共同的努力與承擔，讓第五期學報得以順利出刊。（施懿琳）

台灣古典漢詩選譯

特稿Feature Article

台灣古典漢詩選譯

Classical Taiwan Poetry

葉維廉

Yip, Wai-Lim

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千態萬形，莫可擬仿：清代台灣與內地〈擬鮑明遠舞鶴賦〉試析

研究論文Research Article

千態萬形，莫可擬仿：

清代台灣與內地〈擬鮑明遠舞鶴賦〉試析

A Research about the Imitation of Bao Zhao’s Dancing Crane Fu during Qing Dynasty

游適宏

You, Shih-Hung

摘要

台灣賦家曹敬（1817—1859）所撰〈擬鮑明遠舞鶴賦〉，並非清代賦壇偶見，經文獻檢索，尚可找到內地賦家的十五篇類似之作。本文認為，曹敬賦與其他十五篇的最大不同，在於用律賦體進行擬作。而這群擬作雖然也對原作中鶴「掩雲羅而見羈」的處境進行反思，但其主要興趣仍在鶴舞「盡態極妍」的鋪敘描摹。此外，賦家們筆下舞技非凡的鶴，也正是其賦「欲使人不能加」的投射，鶴體與賦體相互隱喻，賦家們形容「擬作」中鶴的舞技「莫可擬仿」，實為清代賦學意識「思齊」與「爭勝」交織的縮影。

關鍵詞：台灣賦、曹敬、鮑照、舞鶴賦、仿擬

Abstract

Taiwanese writer Cao Jing’s “The Fu modeled Bao Zhao’s Dancing Crane Fu” was not the only one imitation in Qing Dynasty. There were fifteen similar works in mainland China. The difference between Cao Jing and others was Cao Jing writing in metric style. These imitative works were devoted to the description of the flying crane posture. The flying crane in the works symbolized the extraordinary Fu——the flying crane can not be imitated means the Fu of Qing Dynasty is unmatchable.

Keywords: Fu of Taiwan, Cao Jing, Bao Zhao, Dancing Crane Fu, imitation

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