108年9月「境界的追求與再生」:柯慶明教授紀念專輯

2019-10-01

第四十八卷 第三期 總466 中華民國108年9月
Vol.48 No.3 September 2019

《中外文學》九月號推出「境界的追求與再生:柯慶明教授紀念專輯」,收錄了一篇導言及四篇紀念柯慶明教授的文章。此外,本期也收錄了五篇精彩的學術論文,以及一篇藝術評論。學術論文部分,張小虹以當代女性主義文本閱讀的雙重提問──「文本裡有女人嗎?」、「女人裡有文本嗎?」──為出發點,切入張愛玲小說集《傳奇》的序言〈再版的話〉,試圖解構宗法父權作為文化機制在性別意識形態上的掌控,以及宗法父權作為「陽物理體中心」之語言霸權;葉德宣以班乃迪克(Ruth Benedict)提出的「恥感文化」為著眼點,探究詹姆斯(Henry James)在《仕女圖》(The Portrait of a Lady)中所再現的個人主義與舊歐洲群體主義間的衝突,分析小說將戲劇內斂於女主角伊莎貝兒心理的恥感美學;吳慧娟從情感政治觀點探討東南亞移民工書寫與台灣人權發展間的(不)可能性,剖析文學獎副文本如何挪用人權論述建構特定的閱讀框架,中介、動員讀者對東南亞移民工的情感結構;鄭芳婷以四把椅子劇團之《叛徒馬密可能的回憶錄》切入,探討愛滋在風俗想像與醫療操作中受到物質化之動態過程,並以紀錄片拍攝之後設結構,凸顯當代愛滋社群結構的凝聚與潰散;陳芷凡則以好茶族人奧威尼‧卡勒盛的風災書寫為例,論證原住民的災難書寫如何成為社會韌性建構的一部分。「柯慶明教授紀念專輯」部分,由廖肇亨撰寫導言介紹廖肇亨、曾守仁、施淑與劉正忠等四位學者的專稿:前兩文著重在柯慶明教授在古典文學的闡發,後兩文闡述柯慶明教授在現代文學的建樹。評論部分則為鄭美玲為「多歧:2017阿川國際行為藝術節」所寫的表演評論。

中外文學九月號目錄
Contents

張小虹╱文本裡有蹦蹦戲花旦嗎?

文本裡有蹦蹦戲花旦嗎?

張小虹*

摘要

本文嘗試以當代女性主義文本閱讀的雙重提問──「文本裡有女人 嗎?」、「女人裡有文本嗎?」──為出發點,切入張愛玲為其第一本小 說集《傳奇》所寫的序言〈再版的話〉。全文分為三個主要部份。第一部 份處理〈再版的話〉中「蹦蹦戲花旦」的末世寓言,展現其如何擺盪在「棄 婦」與「蕩婦」的曖昧不確定性之間,並由此牽帶出兩種截然不同的宗法 父權位置。第二部份將此宗法父權的批判,從文化機制延伸到語言機 制,一探〈再版的話〉如何引經據典、如何重複引述,如何在語言延異的 過程中「時過境遷」。第三部份則將此「看不見的纖維」之重複引述,延伸 到 張 愛 玲 所 言「 感 情 的 公 式 」, 拉 出 從《 詩 經 》、《 白 兔 記 》到〈 傾 城 之 戀 〉 所呈現「棄婦」感情公式之變易。而「去宗國化」乃是此女性主義文本閱 讀的主要意圖,嘗試同時解構宗法父權作為文化機制在性別意識形態上 的掌控,以及宗法父權作為「陽物理體中心」之語言霸權。

◎關鍵詞:張愛玲,文本性,性別,陽物理體中心,宗法父權

★國立臺灣大學外國語文學系教授。

Hsiao-hung Chang╱Is There a Dan of Ping Opera in the Text?

Is There a Dan of Ping Opera in the Text?

Hsiao-hung Chang*

Abstract

The paper will be divided into three major parts. The first part starts with the doomsday allegory of “the Dan of the Ping Opera” to demonstrate how the Dan character could oscillate ambiguously between “the deserted wife” and “the promiscuous widow” as two distinct (oppo-)postions in patriarchy. The second part attempts to criticize patriarchy as both cultural and linguistic mechanisms. It takes the “invisible fiber” stated by Eileen Chang as the repetitive citationality of classic expressions to foreground how the deferring and differing forces in the writing process of différance can be disclosed from the cover design to the preface of Chuanqi (The Legend). The third part takes Chang’s “emotional formula” as an extension of repetitive citationality or iterability to trace the emotional formula of “the deserted wife” from Shih Ching, Baituji to “Love in a Fallen City” to demonstrate how this emotional formula is re-embodied and simultaneously repeated with variations. This feminist reading is not only an exercise of “de-patriarcalization,” but is also an attempt to deconstruct the ideological domination of patriarchy as a cultural mechanism and at the same time to destabilize patriarchy as the linguistic mechanism of phallogocentrism.

◎Keywords: Eileen Chang, textuality, gender, phallogocentriam, clan patriarchy

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

葉德宣╱戲劇性與周圍操演性:詹姆斯《仕女圖》的恥感形式與個人主義辯證

戲劇性與周圍操演性
詹姆斯《仕女圖》的恥感形式與個人主義辯證

葉德宣*

摘要
本文以班乃迪克提出的「恥感文化」(shame culture)理解詹姆斯在 《仕女圖》中所再現的個人主義與舊歐洲群體主義間的衝突,分析小說將 戲劇內斂於女主角伊莎貝兒心理的恥感美學。藉由自由間接引語,詹姆 斯似欲以個人內在性(interiority)的確立對抗群體主義文化加諸在伊莎 貝兒身上的從眾壓力。然而內在心理世界與外在現實的二分畢竟失之武 斷。透過賽菊克所提出之周圍操演(periperformativity)概念,筆者主 張伊莎貝兒在自由間接引語中使用此類言說反抗恥感社會戲劇性將人視 為運作工具或欺騙對象的傳統操演語言(performative language),形成在 戲劇性邊緣反戲劇性的辯證結構。由於周圍操演性語言遊走於描述與操 演之間的中介性,使得伊莎貝兒的自由間接引語往往產生無法明確辨識 的戲劇性效果,因此解構了內在心理與外在戲劇的二元對立,我們可藉 此檢視小說的開放式結局如何演繹此戲劇性/反戲劇性的複雜辯證,並 自其中析辨詹姆斯將心理溶併於世界的愛默森式個人主義傳統。

◎關鍵詞:恥感文化,周圍操演性,自由間接引語,(反)戲劇性,愛默森式個人主 義,亨利‧詹姆斯,《仕女圖》

★國立中央大學英美語文學系副教授。

Te-hsuan Yeh╱Theatricality and Periperformativity: The Aesthetic Form of Shame in Henry James’s The Portrait of a Lady and Its Dialectic of Individualism

Theatricality and Periperformativity
The Aesthetic Form of Shame in Henry James’s The Portrait of a Lady and Its Dialectic of Individualism

Te-hsuan Yeh*

Abstract
This paper employs Ruth Benedict’s concept “shame culture” to understand the conflict between individualism and the communitarian tradition of Europe represented in Henry James’s The Portrait of a Lady. I analyze the novel’s aesthetic of shame that relocates drama in the heroine’s introverted psychology. Through the free indirect discourse, James seemingly intends to establish an individuated interiority to ward off the conformist pressure imposed by European communitarian culture. Such divide between an internal psychological world and an external reality, however, risks oversimplification. To redress this pitfall, I invoke Eve Sedgwick’s notion of “periperformativity” to argue that Isabel uses her free indirect discourse to rebel against conventional performative language often seen in the theatricality of a shame society epitomized as a lie or strategy to treat people as means to an end. Her resistance constitutes an anti-theatrical mode at the margins of theatricality. Due to the liminal character of periperformatives which usually traverse the boundaries of constatives and performatives, her free indirect discourse often produces unintelligible dramatic effects which culminate in a deconstruction of the internal psychology/external drama divide. This understanding can lay bare how the novel’s ambiguous ending demonstrates an intricate dialectic of theatricality/anti-theatricality and teases out the Emersonian tradition of individualism characterized by the melding of self into a depsychologized world.

◎Keywords: shame culture, periperformativity, the free indirect discourse, (anti-) theatricality, Emersonian individualism, Henry James, The Portrait of a Lady

★Associate Professor, Department of English, National Central University.

吳慧娟╱文學敘事與人權想像:移民工文學獎

文學敘事與人權想像
移民工文學獎

吳慧娟*

摘要

本文從情感政治觀點探討東南亞移民工書寫與台灣人權發展間的 (不)可能性。近年來,學者與社運人士多將東南亞移民工文學的生產 視為台灣人權實踐的里程碑;創辦於2014年的移民工文學獎,更被視 為移民工發聲、賦權的重要文化場域。本文將收錄於文學獎得獎作品集 的評審感想和得獎者感言視為文學獎作品的副文本,探究文學獎副文本 如何挪用人權論述建構特定的閱讀框架,中介、動員讀者對東南亞移 民工的情感結構。本文前半部從文學獎副文本所提供的閱讀脈絡,探討 在台灣社會經濟發展脈絡下,移民工文學獎的生產與再生產,何以成為 台灣國族身分認同與國家建構的文化場域。本文後半部聚焦於文學獎作 品對於移民工人權的描繪與想像,從遷移和向上流動敘事的角度切入, 探究東南亞移民工書寫如何透過真實與擬真的家人關係,重新勾勒移民 工群體與台灣社會的情感結構,挑戰台灣在地以公民身分和國家建構 為出發點的人權論述,並進一步想像超越自由主義個體化的基本人權。

◎關鍵詞:移民工文學獎,人權論述,情感政治,遷移與勞動,發展權

★國立中央大學英美語文學系助理教授。

Grace Hui-chuan Wu╱Literature and Human Rights Imagination: Taiwan Literature Awards for Migrants

Literature and Human Rights Imagination
Taiwan Literature Awards for Migrants

Grace Hui-chuan Wu*

Abstract

The paper explores the (im)possibility of human rights for Southeast Asian migrants in Taiwan by looking at the intersection of literature and human rights with a focus on the Taiwan Literature Awards for Migrants (TLAM). Established in 2014, the TLAM has provided an important platform for Southeast Asian migrant workers to tell their stories of migration and labor. Often read as life experience of suffering and pain, the TLAM winning works witness the violation of human rights in Taiwan and narrate the myth of upward mobility through working abroad. The TLAM Board and participants claim that the writing of Southeast Asian migrants raises Taiwanese readers’ awareness to the abuse of human rights and discrimination against migrant workers in Taiwan and enables a future of equality. By reading the TLAM paratexts (prefaces and afterwords) closely and unfolding the affective politics of pain and suffering articulated in the writing of the TLAM board members, this paper re-examines the founding of the TLAM as an agent to promote migrant workers’ rights. The paper further studies the TLAM winning stories by foregrounding the linkage between migration, mobility, and the rights to development, and explores how those narratives create a new structure of feeling that challenges a formation of human rights culture based on citizenship and nation-building in Taiwan.

◎Keywords: Taiwan Literature Awards for Migrants, human rights discourse, affective politics, migration and labor, the right to development

★Assistant Professor, Department of English, National Central University

鄭芳婷╱當代愛滋社群政略之悖論:《叛徒馬密可能的回憶錄》之戲劇批判戰術

當代愛滋社群政略之悖論
《叛徒馬密可能的回憶錄》之戲劇批判戰術

鄭芳婷*

摘要

自愛滋作為想像之敗德隱喻所導致之社會集體暴力與歧視迄今仍 在,除卻污名的行動與根深蒂固的污名想像長期衝突,導致愛滋社群之 基本權益與相關議題仍處危機之中。以愛滋為題的劇場作品近年日起, 四把椅子劇團之《叛徒馬密可能的回憶錄》(2017),不以愛滋病徵為論 述主題,而是聚焦於愛滋在風俗想像與醫療操作之中受到物質化之動態 過程,並以紀錄片拍攝之後設結構,凸顯當代愛滋社群結構的凝聚與潰 散。如此同時進行之凝聚與潰散,指向本文所謂當代愛滋社群與運動困 境悖論的核心。本文首先梳理愛滋社群政略悖論之脈絡由來,檢驗當代 國內外愛滋戲劇之發展情況,試圖勾勒台灣愛滋劇場長期以來之外部接 合與內部運作,以及可能之困境。本文接著聚焦本劇所形構之敘事主體 衝突與史學史酷兒時間性,提出當代弱勢社群抵抗戰術的可能草案,並 更關鍵地指出一種得以將愛滋社群政略悖論與動態社會發展之間相互關 係納入考量的正義政治的迫切性。

◎關鍵詞:台灣,酷兒,愛滋社群,當代劇場,戲劇悖論,《叛徒馬密可能的回憶 錄》

★國立臺灣大學臺灣文學研究所助理教授。

Fan-ting Cheng╱Paradox of Contemporary AIDS Community Politics: The Theatrical Critique and Tactics in The Possible Memoirs of a Traitor

Paradox of Contemporary AIDS Community Politics
The Theatrical Critique and Tactics in The Possible Memoirs of a Traitor

Fan-ting Cheng*

Abstract

The social violence and discrimination caused by the stigmatization of AIDS as metaphor of deviation still pervade nowadays, rendering the related issues of AIDS at stake. Instead of describing the syndrome of illness, Four Chair Theater’s The Possible Memoirs of a Traitor (2017) focuses on dynamical process in which AIDS/HIV has been materialized within the apparatuses of cultural imagination and medical operation. Staged with the metastructure of documentary shooting, the play underscores the ambivalent attributes— aggregation and collapse—of contemporary AIDS community, which point to the paradox of the AIDS identification that this paper aims to discuss. This paper first articulates the context of the AIDS identification by investigating the histories of AIDS theater and performance around the globe and then moves on to delineate the interior operation, the exterior apparatus, and the possible impasse of the AIDS theater in Taiwan. This paper then probes into the narrative conflict and historiographic queer temporality presented in The Possible Memoirs of a Traitor in order to propose possible activist tactics for contemporary minorities and further point out a necessary politics of justice that takes into account the intervulnerable relationship between the AIDS community politics and the dynamic scenarios of society.

◎Keywords: Taiwan, queer, AIDS community, contemporary theater, theatrical paradox, The Possible Memoirs of a Traitor

★Assistant Professor, Graduate Institute of Taiwan Literature, National Taiwan University

陳芷凡╱家園的永恆回歸:奧威尼‧卡勒盛的風災書寫與社會韌性建構

家園的永恆回歸
奧威尼‧卡勒盛的風災書寫與社會韌性建構

陳芷凡*

摘要

社會科學已從社會韌性的角度,提醒我們應留意原住民族詮釋災 難以及自我復原的能力,本論文在此基礎上進一步論證,原住民的災難 書寫如何成為社會韌性建構的一部分。相較於抗議主題,好茶族人奧威 尼‧卡勒盛將目光返回部落自身,透過書寫思考因風災而不斷遷徙的 族人如何形塑災後的文化身分,並在其中重新出發。作者重返舊好茶並 寫下回家的故事,作品中不只重新界定「古茶布安」(舊好茶)的文化意 義,也援用西方基督宗教教義詮釋「家園」再生成之契機。作品內容見 證了文化身分的進程,也發揮書寫形式作為一種銜接、表演與翻譯之載 體,由此回應人類學者詹姆斯‧克利福德提出原民振興的期盼。

◎關鍵詞:原住民族文學,家園,災難書寫,社會韌性,原民振興

★國立清華大學台灣文學研究所副教授。

Chih-Fan Chen╱Regenerating “Home” between Auvinni Kadreseng’s Writing of Storm Damage and the Construction of Social Resilience

Regenerating “Home” between Auvinni Kadreseng’s Writing of Storm Damage and the Construction of Social Resilience

Chih-Fan Chen*

Abstract

With respect to social resilience, many sociologists have reminded decision makers that unmediated disaster interpretation and independent selfhealing capacity are vital to the process of post-disaster recovery for indigenous communities. Taking this argument as a point of departure, this paper aims to investigate the role of indigenous disaster writing in the building of social resilience. In direct contrast to the prevalent anti-government sentiments in aboriginal writings, Auvinni Kadreseng focuses instead on the description of his native land and explores how his people keep rebuilding their cultural identities in the process of constant migration forced by storm damages. After the disaster, Auvinni returns to Old Village and writes these stories about home. In his prose, Auvinni not only redefines the cultural meaning of Old Village after the disaster, but also seeks to redefine the idea of “home” with Catholicism. Drawing upon the analysis of Auvinni’s work, this research proposes that indigenous disaster writing is a crucial medium for constructing cultural identity through connection, performance and translation, which can be regarded as a response to the theory of indigeneity promoted by James Clifford.

◎Keywords: aboriginal literature, homeland, disaster writing, social resilience, native resurgence

★Associate Professor, Institute of Taiwan Literature, National Tsing Hua University.

境界的追求與再生:柯慶明教授紀念專輯
The Pursuit and Revival of Attainment: A Commemorative Volume in Honor of Ko Ching-Ming

  • 廖肇亨╱境界的追求與再生:柯慶明的學問世界──專輯導言
    Chao-heng Liao╱Preface—The Pursuit and Revival of Attainment: Ko Ching-Ming’s Scholarship
  • 廖肇亨╱文論與美學之間:柯慶明教授的古典文學研究述評
    Chao-heng Liao╱Between Literary Theory and Aesthetics: A Review of Professor Ko Ching-Ming’s Study on Classical Literature
  • 曾守仁╱博約自造、和而不同:柯慶明先生與抒情傳統論
    Shou-jen Tseng╱Concise and Extraordinary: Ko Ching-Ming’s Statement on Lyrical Tradition
  • 施淑╱柯慶明的台灣現代主義及現代小說研究
    Shih Shu╱The Study of Taiwanese Modernism and Modern Fictions of Ko Ching-Ming
  • 劉正忠╱貫串與旁通:柯慶明的現代詩論述
    Zheng-zhong Liu╱Coherence and Stretch: Ko Ching-Ming on Modern Poetry

評論
Critical Review

  • 鄭美玲(葉子啓 譯)╱阿川2017:多歧異行
    Meiling Cheng (Trans. Tzu-chi Yeh)╱ArTrend2017: Multiversity in Practice

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