趨近／挪用／解構／背叛亞陶？
論德希達的「殘酷物語」

蘇子中*

摘要

亞陶的作品具多層次的震撼力，往往能爆發出深不可測的巧思，並從四面八方釋放出殘酷的力量。不同的理論家從中篩選各自所要的部分，並試圖創發新的層面以滿足所需，德希達也不例外。在其生涯中，德希達曾多次評論亞陶的論述與創作，及亞陶謎樣的人生。對許多批評家而言，德希達的兩篇討論亞陶「殘酷劇場」的早期論文──〈被劫持的言語〉（1965）和〈殘酷劇場與再現的封閉〉（1966）──不但是「亞陶評論的經典範例」（Scheer 2004: 8），並對往後的亞陶研究造成深遠的影響。在其1986年的著作〈讓subjectile喪失理智〉中，德希達以亞陶所使用卻無法翻譯的字──subjectile──大作文章，除試圖去說明該字的狂亂意涵，也用該字來詮釋亞陶的思想與藝術創作。這三個著作構成本論文所欲討論的德希達「殘酷物語」。德希達到底是如何趨近、挪用、解構與背叛亞陶的想法？他如何憑藉其無堅不摧的解構方法學去有系統地重塑亞陶？本論文擬進一步細讀並分析德希達解讀亞陶的觀點與讀法，試圖評估並批判德希達的「殘酷物語」，並將「殘酷物語」置於德希達遺產的「文本織物」（textiles）脈絡中。換句話說，本論文梳理德希達對亞陶解讀方法的演變，過程中除了突顯德希達在論述中如何形塑亞陶，也展現德希達如何藉著趨近和挪用亞陶的論述與創作來完成自我的表述，發展自己的解構方法學與理論。

Approaching/Appropriating/Deconstructing/Betraying Artaud?
A Critique of Derrida’s “Story of Cruelty”

Tsu-Chung Su*

Abstract

Antonin Artaud’s writings are layers deep in strain. They madden in layers of unfathomable genius and issue forces of cruelty from all directions. Different theorists tease out different layers from Artaud and try to create new layers to serve their purposes, and so does Jacques Derrida. Over his writing career, Derrida has written multiple commentaries on the work of Artaud and has mentioned the name of Artaud from time to time in his work. For many critics, Derrida’s two early essays on “the theater of cruelty”—“La Parole Soufflée” (1965) and “The Theater of Cruelty and the Closure of Representation” (1966)—have not only become “the paradigmatic case of Artaud commentary” (Scheer 2004: 8) but also exerted a profound impact on subsequent scholarship on Artaud. In his later work, To Unsense the Subjectile (1986), Derrida takes issue with the untranslatable word “subjectile” used by Artaud and attempts to illustrate demented implications of the word and thus Artaud’s thoughts and artistic practices. These three pieces of writing constitute what I call Derrida’s “story of cruelty.” How does Derrida approach, appropriate, deconstruct, and betray Artaud’s thoughts? How does he employ his invincible deconstructive methodology to refashion Artaud in a systematic fashion? The purpose of this paper is to analyze Derrida’s interpretive viewpoint and strategy in transvaluating Artaud’s enterprise. It aims to critique of Derrida’s reading of Artaud and situates his “story of cruelty” in the textual fabric of the Derridean heritage.

饑荒死者
〈死者〉中之愛爾蘭大饑荒陰魂

周幸君*

摘要

The Famine Dead
Specters of the Great Irish Famine in “The Dead”

Hsing-chun Chou*

Abstract

「只不過是場災難，放輕鬆！」
麥克尤恩《日光》中氣候變遷的探問

陳重仁*

摘要

本文探討英國當代作家麥克尤恩在《日光》採取的論述策略，有別於過往書寫氣候變遷慣用的科幻小說或是自傳書寫，麥克尤恩開創出一條不同的書寫路徑，批判力道更為深沈，而且問題直指核心的倫理衝突。麥克尤恩慣於將歷史事件融入故事場景，透過召喚過往的全球性危機與創傷記憶，麥克尤恩將近代發生許多讀者記憶猶新的事件串接到未來的想像情境，藉由書寫氣候變遷，小說家引渡歷史記憶進而挖掘暖化議題的倫理面向。作家書寫與故事主軸看似無關的重大危機與衝突事件，營造過去就在當下而未來即是過去的共時性想像，歷史的衝突不再顯得遙遠，集體的創傷記憶也不再只是殘留於歷史過往的孤立事件，而是與氣候變遷引發的倫理風暴緊密連結，在召喚集體回憶（remembering）的同時，也將之重組 （re-membering）並賦予新意。本文申論面對氣候變遷的困局不在於抉擇過什麼樣的生活，而是在於自認為有所抉擇的優越心態。氣候變遷困境所揭示的，是人類自認萬物皆為所用的現代性框限，是挑戰當下社會情境的正當性，也是針對自然環境步向他者化最深刻的批判。

“It’s a Catastrophe. Relax!”
The Question Concerning Climate Change in Ian McEwan’sSolar

Chung-Jen Chen*

Abstract

The present article explores the narrative strategy in Solar in its distinction from previous approaches favored by sic-fi and autobiographical writings on climate change. By creating a prototypal anti-hero, McEwan takes an alternative route in depicting the ethical dilemma under the threat of climate change.
This article makes the case that in remembering past events of destruction and confrontation and in reassembling collective memories in a personal way, McEwan extradites environmental issues into ethical concerns. McEwan justifies the legitimacy of writing trauma in terms of environmentalized practices of past conflicts, the familiarization of the collective identity of life community, and the projection of collective memories of past traumas onto a sense of urgency at the moment of apocalypse. It is not the experience but the anticipation of risk that displays the calculable uncertainty of climate change that rationalizes the otherization of the environment and the normalization of risk. As the enframing of modern technology is presented and transformed into the revealing of human dominance over nature, an inner contradiction of the progress mentality is held in paradox. As human beings indulge in the wealth and comfort accumulated from the exploitation of nature, no resolution is possible but to continue the momentum of production, consumption and
waste that happen to be the cause of current problem of climate change.

冷戰意識形態與現代主義的文化想像
以戰後台灣與中國的現代詩論述為觀察中心

林巾力*

摘要

近年來無論美國或台灣的學術界都在現代主義的研究上開展出嶄新的視野，這些研究使得吾人在探討台灣戰後的現代主義時，再也無法將其西方的參照僅僅囿限於十九世紀中葉至二十世紀前期的歐洲，而必須擴大將當時所處的冷戰條件考慮在內，也唯有如此，才能夠更清楚地照見台灣戰後現代主義「重返」文壇的契機。因此，本文以近年相關的研究成果為基礎，但特別關注先行研究較少著墨的問題，那就是：在眾多的文學思潮中為何是現代主義得以在冷戰期間異軍突起？對此，本文將考察的對象轉向現代詩領域，尤其是冷戰時期現代主義詩歌重新崛起當初的論述。此外，本文亦嘗試提出一個觀看的框架，也就是把現代主義文藝思潮放到冷戰底下的地緣政治結構中，並將考察的視野從台灣延伸到中國，進而分析同屬第三世界但分屬不同陣營的兩地現代主義詩歌在冷戰期間如何重新崛起，以及在重返的過程中如何受到冷戰結構的催生與限制。有鑒於此，本文希冀釐清如下幾個問題：冷戰究竟形塑了怎樣的意識形態與氛圍？台灣與中國身處冷戰與威權╱極權狀態下的作家們如何理解現代主義？現代主義在當時被賦予了怎樣的文化想像而得以受到青睞？最後，則是探討冷戰的文化想像又是如何影響或轉化現代詩的思想與論述等問題。

Cold War Ideology and Modernism’s Cultural Imaginations
Observations on the Discourse of Modern Chinese Poetry in Post-war Taiwan and China

Nikky Lin*

Abstract

忘卻「階級」的兩種左派
比較台灣文學史論述中的「後殖民左翼」與「族群導向的階級敘事」

林運鴻*

摘要

Two Types of Leftists Who Forget about “Class”
A Comparison between Postcolonial Left and Ethnically-oriented Class Narrative in Discourses on the History of Taiwan Literature

Yun-Hung Lin*

Abstract