107年12月號

2018-12-25

第四十七卷 第四期 總463 中華民國107年12月
Vol.47 No.4 December 2018

《中外文學》十二月號收錄了四篇精彩的論文,以及兩篇學術書評:劉亮雅從郭強生的同志小說《惑鄉之人》出發,探索小說中的歷史想像如何重新銜接台灣戰前與戰後;謝曉虹將香港作家西西的小說《我的喬治亞》重置於其出現之社會背景,進而反省城市建築與空間設計、歷史再現,及其與文學藝術的關係;潘怡帆以遺忘為起點,探討普魯斯特(Marcel Proust)的鉅著《追憶似水年華》中面向未來創造的回憶,以及回憶與遺忘之間具創造性的生產關係;鄧樂兒則解析香港作家黃碧雲的語言實驗之作《沉默。暗啞。微小。》,借用現代語言風格學的研究方法,具體描述小說中語言的獨特之處,並透過語言的「少數用法」,探尋從權力中逃逸的方法。學術書評部分,陳春燕對蓋洛威(Alexander R. Galloway)的《介面效應》(The Interface Effect)做出精彩評析;陳晞哲則評述王德威的《中國現代文學史新編》(A New Literary History of Modern China),討論邊界的消失及相關議題。

中外文學十二月號目錄
Contents

劉亮雅╱重新銜接台灣戰前與戰後:郭強生《惑鄉之人》中的歷史想像

重新銜接台灣戰前與戰後
郭強生《惑鄉之人》中的歷史想像

劉亮雅*

摘要

自西元兩千年以來,外省第二代作家如陳玉慧、郭強生重新銜接台灣戰前與戰後的歷史記憶之集體努力值得重視。郭強生的同志小說《惑鄉之人》以行蹤飄忽的灣生男同性戀松尾森為主角之一,貫串戰前與戰後,從二十一世紀重訪日治時期及戰後記憶,其歷史想像涉及性取向、國族、種族、階級的交纏,本文將探討《惑鄉之人》的歷史想像如何重新銜接台灣戰前與戰後。第一部分探究對於松尾森的多角度描寫以及台日糾葛。第二部分探討小說重返台灣四○年代所涉及的記憶政治。第三部分討論小說所呈現的戰後台灣電影、認同與文化政治的關係。第四部分則是結論。

◎關鍵詞:郭強生,《惑鄉之人》,灣生,男同性戀,台灣歷史想像

★國立臺灣大學外國語文學系特聘教授。

Liang-ya Liou╱Reconnecting Prewar and Postwar Taiwan: Historical Imagination in Kuo Chiang-Sheng’s Whither Do You Go Home

Reconnecting Prewar and Postwar Taiwan
Historical Imagination in Kuo Chiang-Sheng’s Whither Do You Go Home

Liang-ya Liou*

Abstract

It is noteworthy that second-generation Mainlander writers such as Chen Yuhui and Kuo Chiang-Sheng have shown keen interest in memories that reconnect prewar and postwar Taiwan. Kuo Chiang-Sheng’s gay novel Whither Do You Go Home revisits memories of prewar and postwar times, presenting a historical imagination that intertwines sexual orientation with nation, race, and class. This article deals with how Taiwanese historical imagination in Whither Do You Go Home reconnects prewar and postwar Taiwan. The first section explores the novel’s multifaceted delineation of Matsuo Shin, a Taiwanborn Japanese homosexual, in relation to the entanglements between Taiwan and Japan. The second section deals with the politics of memory in the novel’s revisiting of 1940s Taiwan. The third section discusses how the novel portrays postwar Taiwanese films in relation to identity formation and cultural politics. The fourth section is the conclusion.

◎Keywords: Kuo Chiang-Sheng, Whither Do You Go Home, Taiwan-born Japanese, homosexuality, Taiwanese historical imagination

★Distinguished Professor, Department of Foreign Languages and Literatures, National Taiwan University.

謝曉虹╱在大與小之間:一座娃娃屋的空間、歷史與政治——論西西《我的喬治亞》

在大與小之間
一座娃娃屋的空間、歷史與政治──論西西《我的喬治亞》

謝曉虹*

摘要

西西的長篇小說《我的喬治亞》(2008)出版於香港回歸後十年,社會運動甚囂塵上之際。此書卻捨作者一直鍾愛的香港題材,以搭建一座娃娃屋為故事的中心。有論者視《喬治亞》為逃逸的輕巧之作,本文卻認為,輕重大小之界限正是作品所要質詢的;至於公共與私密之界線亦未始不可挪動。通過把《喬治亞》重新置於它出現的社會背景,尤其當時成為全城焦點的天星及皇后碼頭保育運動(2006-2007),本文視能夠隨時變化改造的玩具屋遊戲,為對保育行動的戲仿(parody),並分析作品裡,作為歷史標記的建築物如何被置換為一個溝通不同時空的「通道」;「私密」、「微型」的娃娃屋如何介入「公共」、「紀念碑式」的領域,進而挑戰我們對這些概念的二分及價值預設,並促使我們反省城市建築與空間的設計、歷史的再現,以及它們與文學藝術的關係。

◎關鍵詞:西西,《我的喬治亞》,殖民歷史,集體回憶,皇后碼頭

★香港浸會大學人文及創作系助理教授。

Hiu Hung Dorothy Tse╱Between Big and Small: Space, History, and the Politics of a Dollhouse in Xi Xi’s My Georgian

Between Big and Small
Space, History, and the Politics of a Dollhouse in Xi Xi’s My Georgian

Hiu Hung Dorothy Tse*

Abstract

Published ten years after the handover of Hong Kong, Xi Xi’s novel My Georgian (2008) appeared during a time when social movements were rampant. This work, however, abandons the author’s preferred topic of Hong Kong, and focuses instead on the story of building a dollhouse. Whereas some critics regard My Georgian as an escapist, lightweight work, this paper argues that the novel challenges the very boundaries between the common understanding of “important” and “trivial” and between “public” and “private.” By situating My Georgian within its historical and social context of preservationist movements, especially the social movements to preserve the Star Ferry Pier and Queen’s Pier (2006-7), this paper regards the playfulness of building a dollhouse as a parody of preservationist movements, and analyzes how Xi Xi’s work turns an historical building into a space-time “passageway” and intervenes in the “monumental,” “public” sphere through playing with a “miniature,” “private” dollhouse. This paper also posits that her novel subverts our presumptions of the hierarchical and binary opposition of these concepts and fosters critical reflections on not only the planning and design of buildings and spaces in the city, but also the representations of history, as well as their relationships to art and literature.

◎Keywords: Xi Xi, My Georgian, colonial history, collective memory, Queen’s Pier

★Assistant Professor, Department of Humanities and Creative Writing, Hong Kong Baptist University.

潘怡帆╱遺忘的在場與回憶的創造:《追憶似水年華》作為一部面向未來的作品

遺忘的在場與回憶的創造
《追憶似水年華》作為一部面向未來的作品

潘怡帆*

摘要

本文以遺忘為起點,探討《追憶似水年華》中向前(未來)創造的回憶,而非向後(過去)重複的回憶。回憶與遺忘素來相互對立,然而在此作中它們卻形成生產關係。敘事者往往從遺忘中突然憶起往事,這一方面切斷了回憶綿延的連續性,另一方面,從遺忘中產出的回憶,使遺忘不僅止於「虛無」,轉而肉身化成創造性的回憶。通過分析此作,本文嘗試證明遺忘對創作的促成,使遺忘不再是必須排除的「記錯了」,而是另一種觀看世界的方式;並進一步指出,遺忘的特質如何使藝術作品產生共通性。藝術作品迫使觀眾離開(遺忘)各自習慣的世界,經由他人之作,重返對自我及作品的雙重領悟,由是完成一個經由差異而重返共通世界的過程。遺忘作為一種使人脫離自我成見的方法,作為回憶的斷裂與重構,能開發更豐沛的世界意象,並以創造性的回憶呼應人與世界的認識關係。

◎關鍵詞:回憶,遺忘,作品,藝術,未來

★科技部人文社會科學研究中心博士後研究員。

Yi-fan Pan╱The Presence of Forgetting and the Creation of Memory: A la recherche du temps perdu as a Work Facing the Future

The Presence of Forgetting and the Creation of Memory
A la recherche du temps perdu as a Work Facing the Future

Yi-fan Pan*

Abstract

This article begins with the concept of forgetting to discuss memory as a force of creation that turns toward the creative memory (associated with the future), rather than one that looks back to the repetitive memory (associated with the past) in Marcel Proust’s A la recherche du temps perdu. While remembering and forgetting are conventionally antonymous, the two processes are formed here in this work to formulate a creative relationship. Proust’s narrator often recalls the past suddenly from forgetting, and this interrupts the continuum of the memory. However, the memory, derived from forgetting, renders forgetting as not only “void,” but also an embodied creative memory. Through the analysis of the text, the paper attempts to argue that forgetting leads to a form of creation in Proust’s text: it is no longer the “false memory” to be excluded, but rather another way of seeing the world. Moreover, the author further demonstrates how the characteristics of forgetting make artworks produce an open community. The artwork forces the audience to leave (forget) his or her habitual world, and, through others’ works, reestablishes a double understanding between works and self, which completes the movement from individuality to an open community of the world. As a manner of making one shed his or her own individuality, forgetting serves as the rupture and reconstruction that create a fuller world image by correlating human beings with the external world through creative memory.

◎Keywords: memory, forgetting, work, art, future

★Post-Doctoral Research Fellow, Research Institute for the Humanities and Social Sciences, Ministry of Science and Technology.

鄧樂兒╱語言與權力夾縫的逃逸路線:論黃碧雲《沉默。暗啞。微小。》與「少數文學」

語言與權力夾縫的逃逸路線
論黃碧雲《沉默。暗啞。微小。》與「少數文學」

鄧樂兒*

摘要

黃碧雲(1961-),香港文學當代重要作家之一,其語言風格強烈而獨特,並對語言的改造性運用具高度自覺。惟過往論者偏向討論其作品中具爭議性的題材內容和「暴力美學」,卻少有深入研究其語言風格。及至《烈佬傳》(2012)獲頒專門授予世界華文長篇小說的「紅樓夢獎」,夾雜粵語口語的文字風格才得到重視,「方言文學」更引起一時熱議。事實上,黃碧雲的語言實驗,可追溯至作家七年沉寂期(2005-2011)以前發表的作品《沉默。暗啞。微小。》(2004)。小說以「語言」討論「沉默」,展現作者對語言實驗的後設思考,有助更完整地理解其語言風格的形成過程和理念。
本文借用現代語言風格學的研究方法,具體客觀地描述《沉默。暗啞。微小。》中語言的獨特之處。在這基礎上,本文進一步借助「少數文學」概念,探討黃氏筆下獨特語言風格的深刻意義:作者如何透過語言的「少數用法」,嘗試表述命運和歷史的強權下生命晦暗不明的狀態,並探尋從權力中逃逸的方法。

◎關鍵詞:黃碧雲,香港當代文學,少數文學,語言風格學,逃逸路線

★香港中文大學中國語言及文學系哲學碩士生。

Lok Yee Tang╱The “Line of Flight” between Language and Power: A Study of Minor Literature and Wong Bik Wan’s Silence. Dullness. Slightness. (Chenmo. Anya. Weixiao.)

The “Line of Flight” between Language and Power
A Study of Minor Literature and Wong Bik Wan’s Silence. Dullness. Slightness. (Chenmo. Anya. Weixiao.)

Lok Yee Tang*

Abstract

Wong Bik Wan (1961- ), one of the most important writers of contemporary Hong Kong literature, is renowned for her particular language style as well as her self-conscious use of language. However, previous studies of Wong seldom put emphasis on the originality of her language style. It was not until her work Children of Darkness, which combines the use of Cantonese dialect and spoken language, received the Dream of the Red Chamber Award that the critics’ attentions to her idiosyncratic styles were aroused. This paper aims at investigating her fiction Silence. Dullness. Slightness., a work published right before the author’s seven-year hiatus in writing. As I would like to argue in this paper, this fiction had already shown a metacognitive attempt in experimental use of language. My study aims to provide a foundation for further studies on the development of Wong’s language style.
Based on the approach of Linguistic Stylistics, I will analyze the unique usage of language in Silence. Dullness. Slightness. I will also introduce the concept of “minor literature” to explore the “minor usage” of language in this text, which creates a line of flight that evades the impregnable power of history and destiny.

◎Keywords: Wong Bik Wan, contemporary Hong Kong literature, minor literature, Linguistic Stylistics, line of flight

★M.Phil. Student, Department of Chinese Language and Literature, The Chinese University of Hong Kong.

中外書評
Chung Wai Book Review

  • 陳春燕╱理論、文學技術、新媒體研究:論蓋洛威《介面效應》
    Chun-yen Chen╱Theory, Literary Techniques, and New Media Studies: Review of The Interface Effect
  • 陳晞哲╱邊界的消失及其問題:王德威《中國現代文學史新編》述評
    Xi Zhe Tan╱The Vanishing of Boundaries and Its Paradoxes: A Review of Der-Wei Wang’s A New Literary History of Modern China
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