104年3月號「華語與漢文專輯」

2019-07-29

第四十四卷 第ㄧ期 總448 中華民國104年3月
Vol.44 No.1 March 2015

《中外文學》三月號推出「華語與漢文專輯」,收錄了三篇精彩的專輯論文、三篇回應短文、兩篇主題書評、以及一篇訪談。「專輯論文」部分,詹閔旭和徐國明以臺灣原住民文學與馬華文學在兩大報文學獎的不同呈現模式為例,探討臺灣與不同華語語系社群接觸過程中的複雜糾葛;許舜傑指出臺灣日治時期的新詩人楊華大量抄襲中國新文學報刊上的詩作,但其案例見證了殖民處境下的詩人如何從剽竊走向創新,寫出具臺灣特色的中國白話詩歌;莊怡文則以陳培豐「殖民地漢文」與史書美「華語語系文學」的概念,重新探索日治時期臺灣古典文學的相關問題,著重在文學主體性和多元複雜性,並主張臺灣可自行生成理論。「評論與回應」部分,由王德威、史書美、陳培豐三位學者撰文,分別以不同角度切入,回應並評述本期專輯論文所提及的相關議題。「主題書評」部分,蔡建鑫對石靜遠的著作《華人(文)離散中的聲音與文字》進行了精闢的解說與評論,富田哲也對陳培豐的著作《想像和界限:臺灣語言文體的混生》做出精彩評析。在許維賢對史書美進行的訪問中,史書美強調華語語系研究不只是對中國中心主義的批判,而是具有多面向的批判性。此外,總編輯蕭立君在其〈編輯室(新任)報告中〉揭示了《中外文學》今後力求專輯出刊常態化與系列化的編輯方針。《中外》並將在所刊登的正式論文質量都不打折的前提下,藉由書評、訪談、論壇、針對議題或論點的回應、筆談與短評等形式,擴大學者的參與,俾使相關議題及觀點有進一步對話和延伸討論的空間。

中外文學三月號目錄
Contents

編輯室(新任)報告
Inaugural Editorial

  • 蕭立君╱編輯室(新任)報告 :預約《中外》的集體想像
    Li-Chun Hsiao╱Inaugural Editorial: Envisioning Your Chung Wai

華語與漢文專輯
Special Issue: The Sinophone and Hanwen

編者弁言
Introduction

  • 梅家玲、陳培豐(專輯主編)╱華語與漢文專輯:編者弁言
    Chia-ling Mei and Pei-feng Chen, Guest Editors╱Introduction

詹閔旭、徐國明╱當多種華語語系文學相遇:台灣與華語語系世界的糾葛

當多種華語語系文學相遇
台灣與華語語系世界的糾葛

詹閔旭*、徐國明**

摘要

華語語系研究近年來在全球學術場域備受關注。不過對台灣學者而言,這種以美國為根據地的學術趨勢若要引進台灣,它能生產出什麼樣的理論動能?為何需要在台灣談華語語系研究?這些提問值得省思。本文主張華語語系概念的提出,引領我們深入剖析台灣與不同華語語系社群之間的跨文化接觸過程。這篇文章討論台灣文化場域內多種華語語系文學的相遇。本文將透過兩種華語語系文學──台灣原住民文學與馬華文學──在台灣兩大報文學獎的迥異呈現模式,提請注意認可政治在華語語系關係網絡裡的運作。透過梳理多種華語語系文學的相遇,本文提出以洪美恩主張的「複雜的糾葛」取代「族裔認同」,作為連結台灣與全球華語語系社群關係網絡的框架,期望能演繹不同華語語系社群之間跨文化接觸所帶出的些許課題,為台灣文學乃至於華語語系研究另闢論述空間。

◎關鍵詞:跨文化接觸,文學獎,認可,關係,地方,混雜

★國立成功大學台灣文學系博士、★★國立中興大學中國文學系博士生。

Min-xu Zhan and Kuo-ming Hsu╱When Multiple Sinophone Literatures Meet: Entanglements between Taiwan and the Sinophone World

When Multiple Sinophone Literatures Meet
Entanglements between Taiwan and the Sinophone World

Min-xu Zhan* and Kuo-ming Hsu**

Abstract

In recent years, Sinophone studies has drawn increasing attention among scholars all over the world. Taiwan’s scholars are concerned most of all with the theoretical breakthroughs made by such a U.S.-based theory that may have an impact on Taiwan’s academic studies. Why do Taiwan scholars need to engage “Sinophone” as a theoretical concept? This paper seeks to point out that the notion of Sinophone may help to enhance our understanding of the cross-cultural encounters between Taiwan and the Sinophone world. It conducts an in-depth analysis of the complex issues raised by the encounters of multiple Sinophone literatures in the Taiwanese cultural field of production. Via the case studies of Taiwan indigenous literature and Sinophone Malaysian literature in the field of Taiwan literary award, this paper calls attention to the difference between the translational practices adopted by the two Sinophone literatures to gain recognition in the Sinophone world. The idea of “complicated entanglement” as defined by Ien Ang may serve as a more useful theoretical concept than the notion of “ethnic identity” for understanding the relationship among various Sinophone literatures within the Sinophone network and help shed light on some critical issues of cross-cultural encounters.

◎Keywords: cross-cultural encounter, literary award, recognition, relation, place, hybridity

★Ph.D., Department of Taiwanese Literature, National Cheng Kung University. ★★Ph.D. Student, Department of Chinese Literature, National Chung Hsing University.

許舜傑╱同文下的剽竊:中國新文學與楊華詩歌

同文下的剽竊
中國新文學與楊華詩歌

許舜傑*

摘要

由於白話詩肇始於中國新文學運動,同時期臺灣詩人勢必得從中國白話詩人的作品中理解何謂白話詩,進而開始嘗試創作白話詩。過去學界已陸續指出,臺灣日治時期重要的新詩人楊華,其詩作和郭沫若、冰心、梁宗岱等人的作品多處相似。本文在此基礎上,擴大將中國新文學報刊上的詩作與楊華的詩作進行比對,發現楊華大量剽竊了《創造季刊》、《小說月報》等刊物的詩作,證明日治時期臺灣新文學詩歌受到創造社以及文學研究會極大的影響。這種同文下的文本混生現象,包括改寫、仿擬、抄襲等,在日治時期的報章雜誌上極為普遍。本文探究其原由,發現當時臺灣總督府因統治考量而未將日本頒布的著作權法於臺灣施行,使得臺灣在快速發展現代出版事業的同時,卻無相應的著作權法可依循。在這樣的時空背景中,楊華透過同文下的剽竊進行詩歌的文本混生實驗。本文即針對楊華剽竊的事實、來源管道、作品型態與後續效應,加以舉證分析,重新闡述了楊華的審美原則、詩歌形式、創作心理、文化認同等面向,並藉由其剽竊習慣來考定其作品。筆者認為,楊華的例子見證了一位生活在殖民處境下的臺灣詩人如何從剽竊走向創新,在「中國白話文派」與「臺灣話文派」相持不下之際,嘗試融合兩條路線,寫出具臺灣特色的中國白話文學詩歌。

◎關鍵詞:小說月報,創造社,臺灣新文學,中國新文學,現代詩

★國立臺灣師範大學國文學系博士候選人。

Shun-Jie Syu╱Common-Language Plagiarism: New Chinese Literature and Yang Hua’s Poetry

Common-Language Plagiarism
New Chinese Literature and Yang Hua’s Poetry

Shun-Jie Syu*

Abstract

At the time when New Chinese Literature Movement gave birth to vernacular poetry, Taiwanese poets had little choice but to learn how to write vernacular poems from the works of Chinese vernacular poets when trying their hand at this genre. Yang Hua was one of the most prominent new Taiwanese poets during the period of Japanese colonial rule. Successive academics have indicated that Yang’s poems bear similarities to those of Guo Moruo, Bingxin, and Liang Zongdai, etc. The present study probes more deeply into the comparison between Yang’s poems and those of New Chinese Literature publications. The finding is that Yang plagiarized a large amount of the poetic works from Creation Quarterly, The Short Story Magazine and the like, a proof that New Taiwanese Literature poetry during Japanese colonial reign was significantly influenced by the Creation Society and the Society of Literary Research. Yang’s synthesis of texts in the common language, including rewriting, parodying and plagiarizing, was often seen in the magazines and newspapers in the Colonial Period. Research revealed that governor general of Taiwan did not enforce the copyright law proclaimed by Japan due to some political concerns; consequenetly, the modern publishing industry in Taiwan developed rapidly while no copyright law was in force. Under such circumstances, Yang freely experimented with mixed texts in poems through plagiarism from the common language poetry. Based on the facts, the resources, the types of works and the follow-up effects of Yang’s plagiarism, the present study presents textual evidence and then analyzes and re-elaborates the aesthetic standards, poetry forms, creation mentality and cultural identification of Yang, and goes on to examine his works in light of his habitual style of plagiarism. The study finds, in sum, that this Taiwanese poet in the Japanese colonial period moved from plagiarism toward innovation, attempted to integrate equally matched factions of Chinese vernacular and Taiwanese vernacular, and finally composed Chinese vernacular poems possessing Taiwanese characteristics.

◎Keywords: the Short Story Magazine, the Creation Society, New Taiwanese Literature, New Chinese Literature, New Poetry

★Doctoral Candidate, Department of Chinese, National Taiwan Normal University.

莊怡文╱以「殖民地漢文」與「華語語系文學」概念重論日治時期臺灣古典文學相關問題(1895-1945)

以「殖民地漢文」與「華語語系文學」概念重論日治時期臺灣古典文學相關問題(1895-1945)

莊怡文*

摘要

本文以陳培豐「殖民地漢文」與史書美「華語語系文學」概念,重論日治臺灣古典文學相關問題,側重於文學主體性與多元複雜性。在「殖民地漢文」部分,探討臺灣語言文體如何自「帝國漢文」演變至「殖民地漢文」,及臺灣古典文學自初期「同文主義」到末期「興亞主義」過程間的相關問題。在「華語語系文學」部分,以「中國性」、「華語語系」到「臺灣性」一系列命題推論,探究此論述與臺灣古典文學間的關係:日人在臺漢文學該不該╱能不能放置於「華語語系文學」架構內討論?筆者延續前人未完的論述,並援引邱貴芬關於「臺灣性」的論點作為解決方法。臺灣古典文學無論自「殖民地漢文」或「華語語系文學」概念論之,都隱含著對「中國」的焦慮。此外,本文之立論也將取徑於竹內好的「亞洲作為方法」、溝口雄三之「中國作為方法」、以及李育霖延伸自前兩者說法的「臺灣作為方法」等論述,提出以下的主張:臺灣本身可自行生成理論,具有其「主體能動性」與「無可取代的歷史文化發展」,臺灣古典文學因此有了更多的詮釋空間。

◎關鍵詞:殖民地漢文,華語語系文學,臺灣古典文學,陳培豐,史書美

★國立臺灣大學臺灣文學研究所博士候選人。

Yi-wen Chuang╱An Inquiry into Taiwan Classical Literature During Japanese Colonial Period Based on the Concepts of Colonial Hanwen and Sinophone Literature (1895-1945)

An Inquiry into Taiwan Classical Literature During Japanese Colonial Period Based on the Concepts of Colonial Hanwen and Sinophone Literature (1895-1945)

Yi-wen Chuang*

Abstract

This is an inquiry into Taiwan classical literature during the Japanese colonial period based on the concepts of Pei-feng Chen’s Colonial Hanwen and Shu-mei Shih’s Sinophone Literature. The inquiry concentrates on the subjectivity and the complexity of this classical literature. Firstly, regarding the concept of Colonial Hanwen, I discuss the development from Imperial Hanwen to Colonial Hanwen and the issues from the Hanwen Tung-Wen Phenomenon to the Great East-Asian Regionalism. Secondly, as to the concept of Sinophone Literature, I explore the relation between Sinophone Literature and Taiwan classical literature based on the discourse from Chineseness, Sinophone Literature to Taiwaneseness. The question this paper attempts to examine is whether the Japanese sinology in Tawan can be discussed under the above concepts. The inquiry into this question implies a sort of anxiety about China no matter how we address it. The present inquiry highlights Yu-lin Lee’s innovative approach, Taiwan as a Method, which derives from the theories of Takeuchi Yoshimi (竹內好) and Mizoguchi Yuzo (溝口雄三): Lee’s Taiwan as a Method approach makes it possible to generate a theory for Taiwan demonstrating its subjectivity and irreplaceable historical development, and this will definitely open new arenas for the interpretation of Taiwan classical literature.

◎Keywords: Colonial Hanwen, Sinophone Literature, Taiwan Classical Literature, Peifeng Chen, Shu-mei Shih

★Ph.D. Candidate, Graduate Institute of Taiwan Literature, National Taiwan University.

延伸觀點:評論與回應
Critical Perspectives: Extended Discussions on Special Issue Articles

  • 王德威╱華語語系,台灣觀點
    David Der-wei Wang╱Sinophone Studies and Taiwan Perspectives
  • 史書美╱華語語系研究對台灣文學的可能意義:為《中外文學》「華語與漢文專輯」所寫
    Shu-mei Shih╱Implications of Sinophone Studies for Taiwan Literature: A Response Essay
  • 陳培豐╱類似、差異和混雜:重新思考臺灣的漢文和近代文學
    Pei-feng Chen╱Similarity, Difference and Hybridity: Rethinking Kambun and Modern Literature in Taiwan

主題書評
Reviews of Books on Related Topics

  • 蔡建鑫╱點評石靜遠《華人(文)離散中的聲音與文字》
    Chien-hsin Tsai╱A Review of Sound and Script in Chinese Diaspora by Jing Tsu
  • 富田哲╱開放包容的「詮釋共同體」:評陳培豐《想像和界限:臺灣語言文體的混生》
    Akira Tomita╱An Open and Tolerant Community of Interpretation: A Review of Pei-feng ChenImagination and Boundary: Creolization of Literary Forms in Taiwan

訪談
Interview

  • 許維賢(訪問和修訂);楊明慧(訪問錄音整理)╱華語語系研究不只是對中國中心主義的批判:史書美訪談錄
    Wai Siam Hee, Interviewer; Min Hui Yeo, Transcriber╱Sinophone Studies Is Irreducible to a Critique of China-centrism: An Interview with Shu-mei Shih
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