108年3月號

2019-07-12

第四十八卷 第一期 總464 中華民國108年3月
Vol.48 No.1 March 2019

《中外文學》三月號收錄了五篇精彩的論文:楊子樵討論日治時期台北城的陶瓷建材作為都市網絡格式化的抽象體系,將其視為是文化再現的媒介以及支撐資本流動的基礎設施,並試圖提供殖民批判另一可能路徑;唐慧宇以「鄙民的政治」之概念對陳界仁的《變文書》進行論述,重新檢視當代亞洲以泛文化主義所生產的解殖論述及其可能的各種悖論,作者藉由陳界仁的藝術創作及論述為文本,試圖提出更能回應當前現實處境的思考方案;王榆晴以德勒茲(Gilles Deleuze)情動平等觀念,及巴特勒(Judith Butler)的危命概念,探究吳爾芙(Virginia Woolf)的狗傳記《福樂喜》(Flush)如何從人本中心的國/家/主體問題逸出,重思人與非人的界限,並在書寫的流變實踐中,開展無限生命的創造性連結;廖育正試圖釐清布爾迪厄(Pierre Bourdieu)對康德(Immanuel Kant)美學的「通俗批判」,及洪席耶(Jacques Rancière)對布爾迪厄理論的批評,並透過「幻化遊戲」與「懸置遊玩」概念,與三種層次的自主性來解釋兩者之差異;張斯翔則以黃錦樹的《火,與危險事物──黃錦樹馬共小說選》及其他相關馬共小說為出發點,從「造史」與「抒情」的角度,分析黃錦樹運用馬共作為書寫題材及寓言載體的策略,並進一步探究其在假造的馬共歷史之下所隱藏的,對於馬來西亞華人、華文及其自身作為華語語系游移主體的抒情意識。

中外文學三月號目錄
Contents

楊子樵╱感官的格式:建築媒介、抽象化、與殖民地台北的物流批判

感官的格式
建築媒介、抽象化、與殖民地台北的物流批判

楊子樵*

摘要

「抽象化」是後殖民理論與馬克思主義間論爭的關鍵。多數後殖民理論家認為資本的抽象化雖將具體勞動與物件轉化為跨界流動的抽象交換價值,其普世形式卻無法滲透殖民地底層的文化差異。馬派論者則認為所謂的殖民地差異往往是資本在全球流動伴隨生產的形式。為突破此二元思考,本文將日治時期台北城的陶瓷建材與都市網絡視作格式化的抽象體系,既是文化再現的媒介也是支撐資本流動的基礎設施。論文前半透過閱讀台灣總督府營繕課技術文本中的色彩環境論,探討技術官僚以建築色彩作為連結殖民地風土與殖民者記憶的修辭形式。本文後半則以大稻埕陳天來宅的白色磁磚立面為例,解讀殖民地資產階級對殖民色彩論的挪用變造,進而說明建築陶瓷表面如何重構殖民地都市空間的感知與表達形式。文末引介「真實抽象化」的理論框架,將陶瓷色彩視為資本流動中,坐落於標準格式與在地差異間,抽象勞動與具體勞動間的介面,並藉此提供另一可能的殖民批判路徑。

◎關鍵詞:抽象化,資本主義,物流媒介,基礎設施,殖民差異

★美國加州大學柏克萊分校東亞研究所博士候選人。

Lawrence Zi-Qiao Yang╱Formatted Senses: Abstraction, Architecture Media, and a Logistical Critique of Colonial Taipei

Formatted Senses
Abstraction, Architecture Media, and a Logistical Critique of Colonial Taipei

Lawrence Zi-Qiao Yang*

Abstract

One of the most contested notions between the postcolonial theorists and the Marxist critics has been the idea of abstraction. The former group holds that “abstraction” is defined by the subsumption of concrete lifeworld into the universally abstract labor and exchange value, and that the site of resistance lies in the irreducibility of colonial differences. The latter, by contrast, sees these differences as the side-products of capital’s universalizing drive. This article argues that industrialized architectural objects—symbiotic with the global expansion of colonial capitalism with their universal standard and abstract format—provide an alternative to this dichotomy. Situating the architectural tiles in colonial Taipei as an operational interface between the city’s colonial urban plan and local bourgeoises’ display of power, I highlight the coloration on tiles as a visual module between abstract labor and concrete labor as well as between catastrophic memory and colonial management. The color modulation on tiles, I argue, served both as the logistical infrastructure for capital’s circulation and a cognitive interface with which urban users reprogramed the colonial urban plan. This double role between medium and environment underscores what Alfred Sohn-Rethel and Albert Toscano term “real abstraction,” a notion that might help us re-conceptualize the “Marxism versus Postcolonialism” debate.

◎Keywords: abstraction, capitalism, logistical media, infrastructure, colonial difference

★Ph.D. Candidate, Department of East Asian Languages and Cultures, UC Berkeley, USA.

唐慧宇╱鄙民的政治:從文化解殖到陳界仁的感性生產

鄙民的政治
從文化解殖到陳界仁的感性生產

唐慧宇*

摘要

本文旨在重新檢視當代亞洲以泛文化主義所生產的解殖論述,其可能內涵之諸多悖論,並藉由陳界仁的藝術創作與相關論述,企圖提陳更能回應當前現實處境的思考方案。本文首先分析並檢討亞洲的解殖脈絡,包含查卡拉巴提的知識解殖,南地對於文化傳統的主張,以及孫歌的區域主義,並指出這些解殖方案並未能超越文化主義的侷限以及與現實政治的矛盾。為了超克以文化為面向的解殖論域,本文以陳界仁《變文書》一作為例,指出其中的自我方法和行動策略,事實上更能反思全球體系下的權力支配與生產關係。本文將以「鄙民的政治」這一概念來定義此方法論。本文認為,「鄙民的政治」具備下列特性:(一)由傅柯對於「鄙民」的討論出發,並以其「特定性」的本體論為論述基礎;(二)其所隱含的實踐意義超越了以區域為名的現實政治結構;(三)其介入之意涵並非由全球藝術物流網絡中的代理與分配機制所給定,而是真正實踐平等意義的「生產者」;(四)其所指向的並非是文化的專屬者,而是全面生產化下的無餘裕者。本文將以上述論點出發對於《變文書》進行論述。

◎關鍵詞:解殖,文化主義,陳界仁,《變文書》,鄙民,第十一屆文件展,物流學

★ 國立交通大學社會與文化研究所博士。

Hui-yu Tang╱Politics of the Plebs: From Cultural Decolonization to Chen Chieh-Jen’s Artistic Production

Politics of the Plebs
From Cultural Decolonization to Chen Chieh-Jen’s Artistic Production

Hui-yu Tang*

Abstract

This article aims to re-examine the discourse of decolonization in Asia through its antinomies of pan-culturalism. It is followed by an analysis of the artist Chen Chieh-Jen’s works in order to develop an alternative approach to the current decolonial agenda. I firstly re-examine the thinkers including Dipesh Chakrabarty, Ashis Nandy, and Sun Ge, arguing that their proposals of decolonization have not overcome the limit of culturalism and the paradox with political realities. In order to think beyond the cultural realm, I draw on Chen’s The Bianwen Book to propose that its idea of self-methodology and the strategy of self-activism are more pertinent for us to reflect on today’s global world, the dominance of power and the systems of production. Chen’s approach is defined as “politics of the plebs,” which is elaborated as follows: (1) it is from Foucault’s concept of the “plebs” and its ontology of “specificity” (2) it is beyond the political realities designated by regionalism (3) it derives not from the logistics of global art, but takes the role of a “producer” based on true equality (4) it refers not to the subjects of culture, but to the commons of the deprived in the global capitalism.

◎Keywords: decolonization, culturalism, Chen Chieh-Jen, Bianwen Book, plebs, Documenta 11, logistics

★Ph.D., Institute of Social Research and Cultural Studies, National Chiao Tung University.

王榆晴╱「這條狗就是這條路」: 吳爾芙狗傳記《福樂喜》的流變實踐與危命易受性

「這條狗就是這條路」
吳爾芙狗傳記《福樂喜》的流變實踐與危命易受性

王榆晴*

摘要

維吉妮亞‧吳爾芙的狗傳記《福樂喜》以人狗界線曖昧不明的觀點呈現維多利亞時代女詩人伊莉莎白‧貝瑞特‧布朗寧與其寵物狗福樂喜日常生活重要事件,對於不同城市氣候與公共安危帶給人與非人的影響,有著細膩的著墨與明顯的對比。傳記以狗為主角,在文學敘事與動物議題上日益引發爭辯。本論文第一部將討論以動物觀點書寫的擬人化爭議及這類評論的可能設限。第二部分將焦點放在女作家與狗之間連結,並以德勒茲式情動,開展有別於文學擬人化與性別政治的生命-書寫-人-狗流變關係性。第三部分加入茱蒂斯‧巴特勒的生命理論,重思文本迫出的平等問題與政治性。除了援用德勒茲的情動與內在性概念思考《福樂喜》人-物界線游移不定之狀態與人-物相互影響之組配關係之外,本文認為可進一步藉由巴特勒的危命概念,補充德勒茲哲學中較少提及的平等預設問題。本文試圖以微命與危命所能開展的情動平等預設為理論框架,論述吳爾芙的《福樂喜》如何能從人本中心的國/家/主體問題開啟逃逸路線,重思人與非人的界限,並在書寫的流變實踐中,進一步開展無限生命的創造性連結。

◎關鍵詞:吳爾芙,《福樂喜》,狗,德勒茲,情動,巴特勒,危命,易受性,平等

★國立臺灣大學外國語文學系博士候選人。

Yu-Ching Wang╱“This Dog Is the Road”: Affectivity and Vulnerability in Virginia Woolf’s Flush

“This Dog Is the Road”
Affectivity and Vulnerability in Virginia Woolf’s Flush

Yu-Ching Wang*

Abstract

Virginia Woolf ’s dog biography Flush dwells upon the eponymous cocker spaniel’s companion relationship with the Victorian poetess Elizabeth Barrett Browning from cold, damp London to sunny Pisa and Florence. With the dog as the central character, the narrative is unfolded more through bodily senses than from the perspective of an omnipotent narrator, thus raising debates over the literary device and the animal issue. The first section of this paper will discuss some criticisms on this book, particularly the debate regarding anthropocentric and anthropomorphic writings and its limitation. The second section will focus on the relationality between the female writers and dogs to tease out the writer’s Deleuzian praxis of becoming in response to the human/non-human dualism. The third section will bring in the discussion of Judith Butler’s conceptualization of precarious life and vulnerability alongside the Deleuzian affect to account for the world’s impingement on the body. This paper argues that the affective equality based on bodily vulnerability prompts us to rethink the boundary between the human and the non-human as well as to create infinite linkage between lives.

◎Keywords: Virginia Woolf, Flush, dog, Gilles Deleuze, affect, Judith Butler, precarious life, vulnerability, equality

★Ph.D. Candidate, Department of Foreign Languages and Literatures, National Taiwan University.

廖育正╱「幻化遊戲」與「懸置遊玩」: 論洪席耶對布爾迪厄的批評

「幻化遊戲」與「懸置遊玩」
論洪席耶對布爾迪厄的批評

廖育正*

摘要

布爾迪厄對康德的美學進行了「通俗批判」,他以社會學方法駁斥了無關乎利害等美學思想,主張品味的形塑與社會的構成有高度關係,而個體透過「幻化-遊戲感」在社會場域中實踐。但在洪席耶看來,布爾迪厄的理論將主體的品味與自主性限縮在社會框架裡,忽視了人在事物前得以「懸置」,在「警治」內得以「政治」的「自由遊玩」的美學可能性。兩人看法的差異,涉及結構觀點與行動視角的多重辯證,也有哲學美學與社會學美學不同側重的角力。本文試圖釐清兩者的主張,並透過「幻化遊戲」及「懸置遊玩」這組概念,與三種層次的自主性去解釋他們進路的差異。

◎關鍵詞:洪席耶,布爾迪厄,康德,美學,遊戲,遊玩

★國立清華大學中國文學系博士。

Yu-Cheng Liao╱“Illusio Game” and “Play with Suspension”: A Comment on Jacques Rancière’s Critique of Pierre Bourdieu

“Illusio Game” and “Play with Suspension”
A Comment on Jacques Rancière’s Critique of Pierre Bourdieu

Yu-Cheng Liao*

Abstract

Pierre Bourdieu takes a “vulgar” position to criticize Immanuel Kant’s aesthetics. Bourdieu refutes Kant’s philosophical concept of “disinterestedness,” and insists that taste is highly related to social construction and formation. Bourdieu also claims that subjectivity is realized through games of “illusio.” However, Jacques Rancière argues that Bourdieu restricts the subject’s taste and autonomy inside the social frame and overlooks the possibility of “free play” and “suspension” within “the police order.” The two academics’ debate is a dialectic between contrasting perspectives of structure and agency. This article attempts to unravel these two perspectives with the concepts of “illusio game,” “play with suspension,” and the three distinct levels of autonomy.

◎Keywords: Jacques Rancière, Pierre Bourdieu, Immanuel Kant, aesthetics, game, play

★Ph.D., Department of Chinese Literature, National Tsing Hua University.

張斯翔╱論黃錦樹「後」馬共書寫中的抒情意識:從《火,與危險事物》談起

論黃錦樹「後」馬共書寫中的抒情意識
從《火,與危險事物》談起

張斯翔*

摘要

本文從黃錦樹第一本於馬來西亞出版的文學作品《火,與危險事物──黃錦樹馬共小說選》與其他黃氏相關馬共小說出發,以學者黃錦樹的論述為觀點,綜合討論其從最早的短篇小說〈大卷宗〉即開始書寫的馬共情事。本文試圖從「造史」以及「抒情」的角度,分析黃錦樹運用馬共作為書寫題材及寓言載體的策略,並進一步爬梳其在假造的馬共歷史之下,其虛構及神話化的文本裡所隱藏的,對於馬來西亞華人、華文及其自身作為華語語系游移主體的抒情意識。黃錦樹書寫馬共,我以為不是為了紀念或者將其重新拉回到歷史的明面來,而是讓馬華自身在陰鬱的歷史宿命之中,認清馬共所遺留下來的那完而未了的債務。黃錦樹未經歷過馬共,但卻不斷在「後」馬共的這個「後」中接收各種遺緒,所以時間及時間的斷裂/隔閡成為了黃錦樹寫作的一個重要基點。黃錦樹的馬共小說,在我看來或許補上了馬華族群歷史闕疑之中的漏洞,但卻更大程度補上了他「從外國人變成外國人」的游離身分所產生的生命的漏洞。

◎關鍵詞:「後」馬共,造史,抒情,歷史債務,游離

★國立臺灣大學中國文學系博士候選人。

Shi Siang Teo╱The Consciousness of Lyricism in Ng Kim Chew’s Post-Malayan Communist Writings: Huo, yu wei xian shi wu: Huang Jinshu Ma gong xiao shuo xuan

The Consciousness of Lyricism in Ng Kim Chew’s Post-Malayan Communist Writings
Huo, yu wei xian shi wu: Huang Jinshu Ma gong xiao shuo xuan

Shi Siang Teo*

Abstract

This research looks at the fictional history of the Malayan Communist Party ( 馬共) in Ng Kim Chew’s fictions and academic scholarship to discuss Ng’s sentiments and observations of the Malayan Communist Party. The fictions under discussion include those collected in Huo, yu wei xian shi wu: Huang Jinshu Ma gong xiao shuo xuan (Fictions of Malayan Communist Party by Ng Kim Chew) and his early short fiction “Da Juan Zong” (“Big File”). Ng, through the process of “creating history,” has purposely adopted the propaganda of the Party into his fictions to express his personal sentiments. In his fictions, he extends his sympathies towards the plight of the entire Mahua ( 馬華) ethnicity, literature and culture. This reading sheds light on how Ng’s fictions adopt the sinophone diasporic lyricism to confront the Mahua community and foreground Malayan history, which, in a belated manner, demands the whole Mahua community to shoulder the historical burden of the social debts left by their ancestors. Thus, although the Malayan Emergency happened before Ng’s time, Ng’s fictions still seek to explore his personal identity within the historical debts of Mahua as a form of atonement for and amelioration of historical wounds.

◎Keywords: (Post-)Malayan Communist Party, creating history, lyricism, historical debts, diasporic identity

★Ph.D. Candidate, Department of Chinese Literature, National Taiwan University.

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