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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