翻譯作為方法： 台灣小說與世界文學

研究誌要
Research Note

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

陳芳惠
Chen Fang-Hwey

摘要

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

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

關鍵詞：世界文學、台灣文學、翻譯、現代性、主體性

Abstract

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

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

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

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論《樓下的房客》裡的日常驚懼與網路世代的人格認同

研究論文
Research Article

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

蔣興立
Chiang, Hsin-Li

摘要

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

關鍵詞：九把刀、樓下的房客、網路世代、人格認同

Abstract

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

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

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也斯的七○年代香港新詩論述——以台灣現代詩檢討風潮為燭照

研究論文
Research Article

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

王家琪
Wong, Ka-Ki

摘要

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

關鍵詞：現代詩、新古典主義、現實主義、生活化、香港台灣新詩比較

Abstract

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

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

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

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香港劇場上的《將軍族》—— 致群劇社的陳映真小說改編

研究論文
Research Article


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

麥樂文
Mak, Lok-Man

摘要

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

關鍵詞：陳映真、張秉權、致群劇社、香港文學、香港戲劇、文學改編

Abstract

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

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

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林群盛科幻詩的星球書寫

研究論文
Research Article


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

呂柏勳
Lu, Bou-Hsuen

摘要

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

關鍵詞：林群盛、科幻詩、星球

Abstract

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

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

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

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

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

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編輯室報告（第十一期）

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

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

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

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

台灣歌仔戲引用流行歌曲的途徑與發展原因

研究論文
Research Article


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

劉南芳
Liu, Nan-Fang

摘要

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

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

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

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

關鍵詞：歌仔戲、流行歌、胡撇仔戲、活戲、大眾文化

Abstract

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

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

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

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

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

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一九六○年代初期創世紀詩社之「超現實」詩論

研究論文
Research Article

一九六○年代初期創世紀詩社之「超現實」詩論
The “Surreal” Poetics of “Epoch” in the Early 1960’s

陳瀅州
Chen, Ying-Chou

摘要

        主流詩史敘事談到超現實詩，皆以「反抗」並「取代」官方文藝這個觀點切入；而引領超現實詩潮的創世紀詩社，則被賦予反抗官方文藝、當時社會政治下的不得不然，因此詩作中炫奇技巧、空洞內容成為反共文藝體制下的荒漠甘泉。事實上，將超現實與反共文藝對立起來，如此非黑即白的二分法，可能掩蓋了「創世紀」與官方文藝政策間若即若離的關係。為了解決這項詩史疑義，本文主要觀察一九六○年代初期「創世紀」走向「超現實」路線的發展過程，藉以探討集中出現的大量「超現實」話語如何生成與運作，並以此檢視「創世紀」的「超現實」路線是否真如主流敘事所言：反抗並取代官方文藝。本文認為「創世紀」從「民族」轉向「超現實」，看似從強調「縱的繼承」改弦易轍而接受「橫的移植」，其實深藏的詩學核心仍是官方意識形態的展演。

關鍵詞：創世紀詩社、超現實、官方意識形態

Abstract

        It's a common saying that surreal poetry “resists” and “replaces” the official literature by the mainstream narrative of poetry history, and that the “Epoch” leads the trend of surreal poetry to resist the official literature and necessary of the society and politic at that time. In actuality, surreal poetry in opposition to anti-communism is a dichotomy that might cover the relationship of the “Epoch” and the policy of the official literature. This paper aims to observe the development of the “Epoch” toward “surreal” in the early 1960’s, and considers the process from “nation” to “surreal” of the “Epoch” whose poetics are still an official ideology.

Keywords: “Epoch,” Surreal poetry, official ideology

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帝國底下誕生的兩個瘋子――戰後台日兩國的退伍軍人意象

研究論文
Research Article

帝國底下誕生的兩個瘋子――戰後台日兩國的退伍軍人意象
Two Lunatics under the Empire: The Representation of Japan and Taiwan’s Repatriated Persons after WWⅡ

倉本知明
Kuramoto, Tomoaki

摘要

        本文透過井伏鱒二的〈遥拜隊長〉（1950）與陳映真的〈鄉村的教師〉（1960）的作品比較，分析戰後台日兩國的退伍軍人如何面對戰時犯下的罪惡，為此探討所謂戰爭責任問題之中隱藏的種種論點，以及台日兩國戰後的差異。

        二戰之際，被任命為隨軍記者的井伏鱒二在〈遥拜隊長〉一文中藉由刻畫戰中因頭部負傷而導致精神異常的岡崎悠一，在戰後繼續擺出帝國軍人的模樣，來諷刺戰後立即認同和平價值的日本民眾。戰後仍舊體現忠誠帝國軍人精神的悠一在文本中為一丑角，但他瘋癲的存
在卻顯示出無期限推卸戰爭責任的戰後日本。與其不同，陳映真〈鄉村的教師〉則描繪在南洋吃人回鄉的左翼知識分子吳錦翔的主體形成與其他失敗的過程。光復之後，吳錦翔為了克服這個精神創傷試著奮力認同他心目中的祖國，但他的試圖卻被戰後冷戰體制徹底粉碎，不
得不面對曾經在戰場犯下的罪惡，為贖前愆，以自殺終結。

        本文將藉由分析出現在兩個作品中不同背景的退伍軍人的言行舉止，先討論日本與台灣作家各自以何種立場描述從戰場返回的退伍軍人心態，接著探討他們經驗的「戰後」以及其中隱藏的主體形成問題。最後，以前述的論點介入日本戰爭責任問題的爭議，再探討分別呈現台日兩國「戰後」的差別。

關鍵詞：退伍軍人、戰爭責任、日本軍國主義、墮落

Abstract

        In comparing Masuji Ibuse’s “Yohai Taicho” and Ying-Zhen Chen’s “The Country Village Teacher,” this essay analyses how the repatriated persons in Taiwan and Japan faced their crimes committed during war time, and explores varied issues hidden behind the questions of war responsibilities and the differences between post-war Taiwan and Japan. During WWII, as a war correspondent, Masuji Ibuse, in “Yohai Tacho,” by portraying Yuichi Okazaki, who suffered a mental anomaly due to a head injury during the war, still acting like an Imperial soldier after the war, mocks the Japanese people who recognised the value of peace immediately after the war was over. Yuichi was a comic character in the novel despite embodying the spirit of a loyal Imperial soldier; be that as it may, his madness represents the post-war Japan who has continuously denied her war responsibilities. Unlike Ibuse, Ying-Zhen Chen’s “The Country Village Teacher” describes the formation of the subjectivity and failures of Jing-Xiang Wu, a left-wing repatriated intellectual who
committed cannibalism in South-east Asia. After Taiwan’s Restoration, in order to overcome his trauma, Wu tried to identify with his ideal homeland, but this attempt was completely shattered by the Cold War, and he eventually had to face the crimes committed on the battlefield. He finally committed suicide as an act of redemption. By analysing the behaviours and utterances of these two repatriated persons from different backgrounds portrayed in the two works, this essay first explores
how the two writers from Japan and Taiwan narrate the psychology of repatriated persons, and then examines their post-war experiences and the problems of the formation of their underlying subjectivity. Finally, this thesis discusses the controversy of Japan’s war responsibilities from the
perspectives of the abovementioned analyses, and reveals differences between post-war Taiwan and Japan.

Keywords: repatriated soldiers, war responsibility, Japanese Militarism, fallen

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從日本軍歌到台灣禁歌的觀察――以〈步くうた〉、 〈無頭路〉為例

特稿
Feature Article

從日本軍歌到台灣禁歌的觀察――以〈步くうた〉、〈無頭路〉為例
A Case Study of Music Transition from a Japanese Militant Song to a Censored Taiwanese Folksong: "The Marching Song" and "Roads to No Where"

呂興昌
Lū, Heng-Chhiong

摘要

        1941年由日本ビクター（勝利）唱片公司發行的〈步くうた〉（行路歌），是當時的「軍國歌謠」，一出版，馬上風行日本本土及其殖民地如台灣，成為當年的暢銷歌曲，並獲東京中央放送局的「選獎」。23年後的1964年，台灣惠美唱片公司據此曲調翻唱的〈無頭路〉，卻在出版後不久即因描寫失業問題有「妨害社會安寧與秩序」之嫌遭到查禁；如無特殊機會，這首歌早就消失於台灣詩／歌壇。本文透過田野調查、文獻考索與文本分析探討二者（尤其是〈無頭路〉)在各自國度的創作動機、歷史情境、受容脤絡以及美學價值，藉以彰顯六○年代台語文學代表文類台語歌詩的重要作家呂金守之語言風格與藝術成就。

關鍵詞：呂金守、軍國歌謠、皇民化、禁歌、翻唱、失業歌謠

Abstract

        "The Marching Song" (步くうた) was a militant song published by JVC (Victor Company of Japan) in 1941. It became popular in Japan and Japanese colonies such as Taiwan, and won the Choice Award of the Year at Tokyo Broadcasting Station. In 1964, a cover song called "Roads to No Where" (無頭路) was published by Hui-Mei Record Company in Taiwan. However, as the lyrics contained description of unemployment, it was soon banned by the Taiwanese government as it was considered as an "act that jeopardizes social order and stability." This essay uses field study and textual analysis methods to investigate the motivation of composition, historical contexts, acceptances, and aesthetic values of these two songs (especially "Roads to No Where"), while highlighting the language style and artistic achievement of Lū Kim-Siú, a great poetry/ folksong writer in Taiwanese language literature in the 1960s.

Keywords: Lū Kim-Siú , militant songs, Japanization, Censorship of music, cover songs, unemployment

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編輯室報告（第十期）

        本次《台灣文學研究》第十期收錄了特稿一篇，投稿論文三篇，共計四篇論文。三篇投稿論文篇數雖不多，卻都有相當的篇幅份量，更是從嚴謹的審查中好不容易得以順利出線通過者。特稿為呂興昌發表於2016年6月「台日文學與歌謠國際學術研討會」的論文，因其挖掘自曾被查禁已致消失於台灣詩／歌壇的失業歌曲〈無頭路〉，且具有由日本軍歌到台灣禁歌時代變化下的承繼與轉折關係，意義十分珍貴，本期特地邀請刊登。作者透過田野調查、文獻考索與文本分析等方法，探討其由日本時代軍歌〈步くうた〉（行路歌）演變為〈無頭路〉二者在各自國度的創作動機、歷史情境、受容脈絡以及美學價值，並藉此彰顯六○年代台語文學代表文類「台語歌詩」的重要作家呂金守之語言風格與藝術成就，本刊鄭重推薦。

        其次，在研究論文部份，本次計收錄有倉本知明（Kuramoto）〈帝國底下誕生的兩個瘋子――戰後台日兩國的退伍軍人意象〉、陳瀅州〈一九六○年代初期創世紀詩社之「超現實」詩論〉及劉南芳〈台灣歌仔戲引用流行歌曲的途徑與發展原因〉等三篇。其中倉本知明（Kuramoto）〈帝國底下誕生的兩個瘋子――戰後台日兩國的退伍軍人意象〉一文針對井伏鱒二的〈遥拜隊長〉（1950）與陳映真的〈鄉村的教師〉（1960）兩篇同時描寫到日台兩國退伍軍人的太平洋戰爭經驗進行比較。面對戰時犯下的罪惡，〈遥拜隊長〉中戰後仍舊體現忠誠於帝國的日本軍人悠一，以瘋癲的存在諷刺戰後立即認同和平價值的日本民眾；陳映真〈鄉村的教師〉中戰後回到台灣故鄉的左翼知識分子吳錦翔，為了克服曾在南洋戰爭時期吃人肉維生的精神創傷，雖奮力認同心目中的祖國，卻終被戰後冷戰體制粉碎，以自殺終結心中罪愆。本文探討所謂「戰爭責任」問題之中隱藏的種種論點，以及台日兩國「戰後」的差異，對經歷戰爭的日台退伍軍人面對「戰後」以及其中隱藏的主體形成問題，尤其日本戰爭責任問題的爭議，有深入的探討。

        另外，陳瀅州〈一九六○年代初期創世紀詩社之「超現實」詩論〉一文針對一九六○年代初期創世紀詩社的歷史定位，尤其其「反抗」意識關係問題加以探討。認為創世紀詩社推的超現實詩作被主流詩史敘事解釋為反共文藝體制下的荒漠甘泉，可能掩蓋了「創世紀」與官方文藝政策間若即若離的關係。本文主要觀察一九六○年代初期「創世紀」走向「超現實」路線的發展過程，探討集中出現的大量「超現實」話語，究竟如何生成與運作，最終「創世紀」從「民族」轉向「超現實」，看似從強調「縱的繼承」改弦易轍而接受「橫的移植」，其實深藏的詩學核心仍是官方意識形態的展演。本文面對此一看來並不新鮮的爭議性問題，以細緻的爬梳提出具有相當說服力的新立論，值得參考。

        最後，劉南芳〈台灣歌仔戲引用流行歌曲的途徑與發展原因〉一文，探討從1932年第一首台語流行歌〈桃花泣血記〉灌錄成唱片發行開始，台灣歌仔戲如何將當時台灣流行歌曲規律詞格與分節形式的民謠風，作為「新調」穿插在內台歌仔戲傳統曲調之中混合使用，以製造演出效果。本文從日治時期的歌仔戲、戰後內台歌仔戲、及外台「胡撇仔戲」三個階段敘述台灣歌仔戲引用流行歌的情形，並分析歌仔戲與流行歌能夠互相交流的原因，特別是在新編的「胡撇仔戲」當中，「活戲」的表演形式為流行音樂留下寬廣的發展空間，大眾文化中的「商業性」要求更促成了流行歌與戲劇表演的結合，這使得流行歌曲所占的篇幅日益擴大，幫助歌仔戲可以和其他的通俗娛樂展開競爭。透過此文的觀察可以清楚認知到，從吸收「民謠」到引進「流行歌曲」，無疑是台灣歌仔戲從「民間文化」過渡到「大眾文化」歷程
的一個重要的特徵。

        綜觀本期幾篇論文，就論述題材與討論方式來看，可以發現如倉本知明（Kuramoto）比較性的議題與陳瀅州舊材料新觀點的論文仍然是永遠受到重視與不虞匱乏的研究可能與取材方式。而呂興昌、劉南芳兩篇論文以台語歌詩或流行歌進行探討，並且都同時挖掘了由日治到戰後特定的傳承脈絡與關係轉變，這類以聲音為主的議題與材料在過去台灣文學研究中非常受忽視，如今已逐漸得到出土、重視與探討，這不但是令人開心的發展，也期待未來有更多的相關研究與材料繼續出現。

        最後，除了感謝本期各匿名審查人、編輯委員會諸委員們以及默默付出不及辨識者的全力襄贊努力之外，也感謝英譯特稿摘要部份的洪苑真女士及時幫忙，尤其特別感謝兩位編輯助理王維碩與劉庭彰先生，本期編輯過程中經歷了編輯委員會審查方式的局部變革，他們為維持本刊嚴謹審查的原則，承擔了比過去更為漫長的繁瑣溝通與書信往返，沒有他們的配合與努力，本刊的出版恐將遙遙無期，在此特別為兩位付出的龐大時間與精力致上最深的謝意。（廖淑芳）

愛情、性與婚姻的政治經濟學――再論楊青矗的小說

研究論文

Research Article

愛情、性與婚姻的政治經濟學――再論楊青矗的小說

The Political Economy of Love, Sex, and Marriage: A Study of Yang Qing-Chu’s Fiction

謝世宗
Shie, Elliott S.T.

摘要

    當先行研究者強調楊青矗作品所反映的社會現實時，本文指出他的許多作品其實以愛情為情節核心，然而他的羅曼史是一種「反羅曼史」，以赤裸裸的方式展現愛情、性與婚姻的經濟性格，並改寫、顛覆或解構純愛羅曼史的神話。楊青矗透過特定的愛情模式（媒妁之言與自由戀愛），反映下層經濟結構的轉變，並呈現資本主義體制下情愛與婚姻關係的物化現象，尤其公平意識不但展現在公領域，更滲透到私領域。其中的傑作〈工廠的舞會〉是一則資本主義的寓言，呈現資本主義體制下工作與休閒／愛情的共生結構；揭露市場供需不平衡下，雇主與勞工、男性與女性的權力關係；以及在性別分化下，集體抗爭的困難。楊青矗的《心標》與《連雲夢》兩本長篇小說細膩鋪陳男女談情說愛的歷程，宛如羅曼史的形式，但卻點出愛情、藝術、自然與文化資本的共生關係，直指浪漫愛實質上乃是資本主義社會特定階級的特權。透過楊青矗的小說研究，本文一方面重新指出其作品中較少受到關注的愛情元素，另一方面重新思索社會學研究與文學批評的界線，並提出更細緻的反映論架構以思索寫實主義小說的複雜內涵。

關鍵詞：楊青矗、愛情、經濟、反映論、資本主義

Abstract

    The scholarship on Yang Qing-Chu's fiction has focused on social, economic, and political issues such as class conflict, social change, economic inequality, gender hegemony, and labor alienation. Against this backdrop, this paper first pinpoints “love” as the locus of his stories; but in contrast to popular romance, where love conquers all, Yang’s love stories reveal the economic characteristics of love, sex, and marriage, thereby subverting the romance formulas that often revere the myth of romantic love. First, through their depiction of intimate, sexual, and marital relationships, love stories reveal the transformations occurring in the economy. In addition, Yang’s love stories explore the phenomenon of reification that has penetrated both the public and private domains. Third,
while his stories seem to indicate the homology between the markets of mating and labor, the story of “The Dance Party” suggests that there is conflict between the individual and the collective, that is, between one’s romantic pursuits and one’s alliances in the interest of the working class. Finally, Yang’ two novels enquire into the trinity of love, nature and art, revealing the relationship of romanic love and class privilege in a capitalist society. Through reflection theory, this paper hopes to shed some new light on Yang Qing-Chu's fiction and to reaffirm the significance of Marxist criticism in the study of Taiwanese literature.

Keywords: Yang Qing-Chu, love, economy, reflection theory, capitalism

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日治時期《台灣日日新報》中日人台灣行旅圖文研 究――以小林松僲〈花不見日記〉為例

研究論文

Research Article

日治時期《台灣日日新報》中日人台灣行旅圖文研 究――以小林松僲〈花不見日記〉為例

Diaries and Pictures of Taiwan Travel from the Japanese Perspective Published in Taiwan Daily News during the Japanese Colonial Period: A Case Study of Kobayashi Shousen’s “Diary of Invisible Flowers”

蕭怡姍
Hsiao, Yi-Shan

摘要

    日治時期有許多日本官員、教師、畫家和文人作家，他們透過官方派遣或是寫生旅行等身分與目的，於報刊上發表的圖文結合城市、自然風光的行旅書寫。在風土民俗、熱帶氣候與溫帶家鄉日本完全不同的海島台灣，由日籍文人與畫家敘述的文字與描繪的圖像，勾勒出的殖民地台灣風景，因為目的與觀看視角的不同，讓他們的圖像與文字所隱含的內容與意味往往多於表象所見。本文以小林松僲1907年3月6日到3月19日發表於《台灣日日新報》的21篇
〈花不見日記〉為研究主軸，每篇日記皆記載了小林松僲於竹仔湖登山寫生的心情與見聞。

    小林松僲〈花不見日記〉以優美俳諧書寫佐以圖像描繪尋櫻卻不見櫻的經過，〈花不見日記〉刊載隔日，《漢文日日新報》便開始連載〈竹仔湖紀行畫〉，以小林松僲的原圖搭配重新創作的漢詩，詩文則多由圖像衍伸而出並未參考原文。竹仔湖的櫻花在外型上雖與日本櫻花稍有不同，卻可視為日本櫻花的移植，櫻花所在地——竹仔湖，成為日本馴化後的「風景」，台灣也成為日本收編的「國土」。《台灣日日新報》與《漢文日日新報》藉由刊載小林松僲尋櫻不見櫻，珍愛的櫻花在寫生登山之旅扮演關鍵角色，櫻花成為一種教化啟蒙之工具，使日本殖民統治更具正統性，於是櫻花之所在之地，即是帝國所在。

關鍵詞：小林松僲、台灣日日新報、花不見日記、漢文台灣日日新報、竹仔湖紀行畫

Abstract

    Many Japanese travelers from a variety of professions, including officials, teachers, writers and painters, came to Taiwan to live or travel during the Japanese colonial period. Living on an island where the climate and culture were different from Japan, these travelers, particularly the writers and painters, were able to present pictures and sceneries based on their experiences of Taiwan, which revealed overlapping, yet discernible visual images.

    Kobayashi Shousen’s traveling-writing “Diary of invisible flowers” written in gorgeous “Haiku” illustrated with paintings depicts the process of seeking sakura, but failing. After “Diary of invisible flowers” was published, th Taiwan Daily News Chinese Edition immediately started to serialize “Travel Painting of Jhuzihu.” Although the paintings of Jhuzihu are the same as “Diary of Invisible Flowers,” the content is completely different for the translator came up with his own text based on the original pictures. It is reasonable for the Japanese to claim that Taiwan is part of Japan because of the similar sakura and scenery found in “Jhuzihu.” Taiwan Daily News and its Chinese version published Kobayashi Shousen’s traveling writing “Diary of Invisible Flowers” to reinforce the idea that “The place where sakura grows belongs to the Japan Empire.”

Keywords: Kobayashi Shousen, Taiwan Daily News, Diary of Invisible Flowers, Taiwan Daily News Chinese Edition, Travel Painting of Jhuzihu

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當代台灣小說中的資本主義體制

研究論文
Research Article

當代台灣小說中的資本主義體制
The Capitalist Institution in Contemporary Taiwan Fiction

林運鴻
Lin, Yun-Hong

摘要

        隨著全球資本主義的擴張，台灣的經濟生活與社會結構也發生了重大的改變。本文所要觀察的是，在台灣當代小說中，資本主義制度以甚麼樣的面貌呈現。本文主要討論四個面相：一、農村勞動力的遷移，以及城鄉差距帶來的弊病。二、在台灣社會的資本主義化歷史過程中，國家在市場領域中扮演的角色。三、隨著台灣進入全球市場，在地的工人與跨國流動的資本階級之間的緊張。四、現代資本主義社會內部的階級衝突。除了分析當代台灣小說文本中，所再現的資本主義經濟之外，本文同時透過馬克思主義的觀點，去討論小說中可能存在的「階級意識」及其侷限。

關鍵詞：台灣文學史、都市化、國家、跨國資本主義、階級衝突、階級意識

Abstract

    With the expansion of capitalism, the economic life and social structure in Taiwan have undergone major shifts. This paper aims to explore the way capitalism is represented in contemporary Taiwan fiction. Four major aspects are discussed: 1. the movement of labor in farming communities as well as the drawbacks brought about by the development gap between urban and rural areas; 2. the role of the state in the market over the course of capitalist history in Taiwanese society; 3. the tensions between local laborers and the transnational capitalist-class, with the entry of Taiwan into the global market; and, 4. the class conflict within modern capitalist societies. Apart from analyzing the representation of capitalism in contemporary Taiwan fiction, this paper also discusses the
potential “class consciousness” and its limits from a Marxist perspective.

Keywords: Taiwanese literary history, urbanization, state, global capitalism, class conflict, class consciousness

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台灣推理小說的「本土」界義及「新本土／新本格」 發展

研究論文
Research Article

台灣推理小說的「本土」界義及「新本土／新本格」發展

The Definition of “Local” in Taiwanese Mystery Novels and the Development of “New Local/New Mystery

洪敍銘
Hong, Syu-Ming

摘要

        一九八○年代至今，台灣推理小說的「社會」與「本格」書寫傾向，各自開展獨特且殊異的面向，創造出許多不同形態的作品。然而，當台灣推理小說以「本土推理」作為書寫類型，產生所謂「本土」界義的分判時，「『本土推理』小說還是『本土』推理小說？」這樣的疑問，讓我們思考「本土推理」究竟應該視作某一種獨特的文體，或者「本土」僅只是作為「推理」其中一種表現形式。

        「本土」界義的討論，在2000年後的台灣推理文壇中，產生了以「本土」的元素融入本格推理中，加強推理與地理空間相互關係的「新本土」路線，本文認為，這種在2000年後常見的書寫型態與模式，實際上是某種「本格復興」的想像與實踐，因而弔詭地反映出「本土 」、「推理」的二分，顯示「新本土」所暗示的台灣推理的在地化追求，最終可能只是一種「新本格」的嘗試。這樣的文類發展趨向，正可以讓讀者與研究者嘗試重新審視與理解台灣推理小說的發展，並拓展推理文學領域的研究可能。

關鍵詞：台灣推理小說、本土推理、本土性、新本格、在地化

Abstract

        In Taiwan, the local and classic writing style of local mystery novels has its unique perspective, which has turned into various works. Nevertheless, when rethinking the core of the local mystery genre, two questions arise: How should we define “local”? and, Should we call it a “localized mystery” novel or “local” mystery novel? Keeping these questions in mind, they lead to thought of whether we should consider “localized mystery” as a distinctive writing style or take "local" as a
presentation of “mystery.”

        Discrepancy of the “local” definition causes no matter pattern's or content's difference between Local style and Classic style in Taiwanese mystery novel, which makes the “New Local Mystery” style adopted by many later writers. They have focused on combining localized factors into classic mystery to highlight the relationship between mystery and geography, as a response to local or classic style. However, this article suggests that “local” plus “classic” equals “New Mystery” style; indeed, “local” is taken as a special element to add into the mystery narrative, and become a revision and response. This kind of writing style expresses the dichotomy of “local” and “mystery,” thereby presenting the concept that new local may simply be an attempt for New Mystery. Moreover, its growth could lead readers and researchers to review or re-discover the Taiwanese mystery novel in a more open perspective; and in this manner, expand the range of mystery literature.

Keywords: Taiwanese mystery novel, local mystery, localization, New Mystery

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圓桌會議

論壇：「反抗運動與文化再現」國際學術工作坊
Forum: Social Movements and the Representation of Cultures––A Multidisciplinary International Workshop

圓桌會議
Round Table Conference

主持人：鍾秀梅
Moderator: Chung, Hsiu-Mei

討論人：李承機、鵜飼哲、周鈗涏、洪貞玲、許寶強
Panelists: Li, Cheng-Chi; Ukai, Satoshi; Joo, Yun-Jeong; Hung, Chen-Ling; Hui, Po-Keung

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社會運動與新傳播實踐：解析318運動的多重支持網絡

論壇：「反抗運動與文化再現」國際學術工作坊
Forum: Social Movements and the Representation of Cultures––A Multidisciplinary International Workshop

社會運動與新傳播實踐：解析318運動的多重支持網絡
Social Movements and New Communicative Practices: Analysis on the Multiple Supporting Networks of the March 18 Movement

演講者：洪貞玲
Speaker: Hung, Chen-Ling

對談人：吳永毅、何東洪
Respondents: Wu, Yong-Yi; Ho, Tung-Hung

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對新自由主義的創意反抗： 韓國青年與藝術抗議行動

論壇：「反抗運動與文化再現」國際學術工作坊
Forum: Social Movements and the Representation of Cultures––A Multidisciplinary International Workshop

對新自由主義的創意反抗：韓國青年與藝術抗議行動
Creative Resistance to Neoliberalism: Youth and Art Activism in South Korea

演講者：周鈗涏
Speaker: Joo, Yun-Jeong

對談人：楊芳枝、羅世宏
Respondents: Yang, Fang-Chih; Lo, Shih-Hung

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社會運動作為方法―― 香港雨傘運動的啟示

論壇：「反抗運動與文化再現」國際學術工作坊
Forum: Social Movements and the Representation of Cultures––A Multidisciplinary International Workshop

社會運動作為方法――香港雨傘運動的啟示
“Living in Truth” vs. Realpolitik: Limitations and Potential of the Umbrella Movement

演講者：許寶強
Speaker: Hui, Po-Keung

對談人：劉紀蕙
Respondents: Liu, Chi-Hui

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「和平與民主」―― 對於特定時期日本反戰運動的反思

論壇：「反抗運動與文化再現」國際學術工作坊
Forum: Social Movements and the Representation of Cultures––A Multidisciplinary International Workshop

「和平與民主」――對於特定時期日本反戰運動的反思
"Peace and Democracy" ––The Reflections on Japanese Anti-War Movement in the Contemporary Context

演講者：鵜飼哲
Speaker: Ukai, Satoshi

對談人：王智明、朱惠足
Respondents: Wang, Chih-Ming; Chu, Huei-Chu

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編輯室報告（第九期）

        《台灣文學研究》第九期內容共收錄四篇學術論文，並以專題形式紀錄了成功大學台灣文學系於2015年10月份所舉辦「反抗運動與文化再現」國際學術工作坊之討論實況。以「反抗運動與文化再現」為主題，本活動共組織了四場座談，在青年佔領運動與反抗全球化的脈絡上，分別針對日本、香港、南韓、台灣四地近來接連爆發的大型抗爭現象進行探討。

        近兩年內在東北亞地區冒現的青年運動，面對四地之間彼此交疊的歷史淵源，以及整體東亞地區在當代所共同面臨的新自由主義形勢，幾位來自不同地區與學科領域的公共知識份子與學者，於會中特別關注到青年流行文化與網路社群在運動過程中所扮演的媒介角色。這些形式多元且流通迅速的載體，正以另類形態建構有別於傳統知識生產路徑的感知框架，並形成所謂的「新舊差異」或「代溝」。透過跨世代、跨國界青年運動組織經驗之比較，本次工作坊嘗試凝聚一個地域性的集體視角，沿著相互承認的歷史軌跡前進，在共同的經驗基
礎裡尋求更加深刻的理解契機。

        學術論文部分，洪敍銘〈台灣推理小說的「本土」界義及「新本土／新本格」發展〉針對一九八○年代以降台灣推理小說的典律建構軌跡加以梳理，就「推理」文類與「本土」情境的交涉狀況進行討論。林運鴻〈當代台灣小說中的資本主義體制〉針對都市化、國家與發展
、跨國資本、階級衝突等主題面向，對於台灣當代小說中所敘寫的「資本主義體制」加以分析，透過文學內容與社會發展史之間的參照比對，描繪出台灣當代小說在「階級」議題上的獨特景觀。蕭怡姍〈日治時期《台灣日日新報》中日人台灣行旅圖文研究――以小林松僲〈花不見日記〉為例〉，以小林松僲畫作與日記於日治官方報刊上的連載與轉譯軌跡為研究對象，探討這些關於殖民地風土的圖像與文字，如何在論述過程中被賦予啟蒙教化意義，進而跨越外貌差異，將生長於竹子湖的櫻花，漸次轉化為日本帝國的認同象徵。謝世宗〈愛
情、性與婚姻的政治經濟學――再論楊青矗的小說〉以愛情情節為主軸，針對楊青矗作品中關於台灣社會政經狀況的描寫加以重探，透過其小說中的「反羅曼史」特徵，為楊青矗作品既有的寫實主義評價拓展新的可能性。

       本人在成大台文系開設影像工作課程近十年，本次加入編輯陣營，感受到跨學科對話的可能性，期待本刊能為跨界研究注入新力。（曾吉賢）