98年12月號

2019-08-19

第三十八卷 第四期 總427 中華民國98年12月
Vol.38 No.4 December 2009

《中外文學》十二月號收錄六篇精彩論文:黃錦樹以嬰屍詮釋學的角度,對駱以軍的《西夏旅館》做考古追蹤,佐以《遣悲懷》的詮釋,描繪出駱以軍「傷害美學」的形成及演化;楊凱麟以德勒茲(Gilles Deleuze)與瓜達希(Félix Guattari)的游牧書寫概念來解析駱以軍《西夏旅館》中的書寫特異性;梁孫傑主張德希達(Jacques Derrida)以它者的眼光省視並呈現動物,探索德希達處理動物回視時所觸及的種種問題;朱惠足討論蘭嶼原住民作家夏曼‧藍波安的散文〈海洋朝聖者〉與沖繩西表島崎山多美的小說〈水上往還〉,探討兩位離島作家的歸島書寫;廖勇超討論全球化下瑪丹娜做為一種商品與身體影像的互相形塑,以及其中「身體曲線」與「經濟曲線」的構連性;謝世宗則探究侯孝賢電影《好男好女》中電影歷史敘事與真實性的相關議題。

中外文學十二月號目錄
Contents

黃錦樹╱神的屍骸 ──論駱以軍的傷害美學

神的屍骸 ──論駱以軍的傷害美學

黃錦樹*

摘要
        駱以軍的新著《西夏旅館》是個貌似艱難的文本,它的厚度也遠超過同一作者其他的作品。到底它是一個新的突破,還是過去的一定程度的重複與延續?它到底有著怎樣的美學特色、呈現了怎樣的病癥?本文嘗試以一種嬰屍詮釋學的角度,做考古追蹤。尤其是以《遣悲懷》為基礎,來詮釋它,並勾勒出駱以軍「傷害美學」的形成、演化,一方面是重探《遣悲懷》在美學及倫理上的越界,及該越界的意義;另一方面,則是尋索同一母題在《西夏旅館》中的變奏。並藉以權衡後者之得失。

◎關鍵詞:傷害,屍骸,夢,時差,神

★國立暨南國際大學中國語文學系教授。

Kimchew Ng╱Corpses of Deities— On Luo Yijun’s Injury Esthetics

Corpses of Deities— On Luo Yijun’s Injury Esthetics

Kimchew Ng*

Abstract
     Luo Yijun’s latest novel, West Xia Hotel (Xixia luguan), appears to be an abstruse text, which is also much longer than his other works. Is it a breakthrough, or a repetition and extension of his previous works? What esthetic traits does it possess and how it symptomatize them? This paper attempts to excavate the novel’s archaeological traces by a hermeneutics of the infant corpse. My interpretation is particularly based on Luo’s Dispelling Sorrow (Qian beihuai), via a mapping of the formation and evolution of Luo’s Injury Esthetics. This paper, on the one hand, retraces the border-crossing of esthetics and ethics as well as the significance of such an act. On the other hand, it explores the thematic variations in West Xia Hotel, and, by so doing, discusses the merits and demerits of the novel.

◎Keywords: injury, corpse, dream, jet lag, deities

★Professor, Department of Chinese Language and Literature, National Chi Nan University.

楊凱麟╱《西夏旅館》的運動-語言與時間-語言: 駱以軍游牧書寫論

《西夏旅館》的運動-語言與時間-語言
駱以軍游牧書寫論

楊凱麟*

摘要
        作為一個說故事的職人,駱以軍透過《西夏旅館》意圖質問二個基進問題:「為何有故事,而非沒有?」,以及「故事如何成為無限?」對於第一個問題,駱以軍透過一種「故事入口」的微感書寫,反覆地展演故事進場前一瞬的特異時空狀態。對於第二個問題,《西夏旅館》則形塑一種「故事有字,字即故事」的故事-單子宇宙。這似乎是一種故事書寫的萊布尼茲主義。然而,在這些特異的形式之外,纏祟《西夏旅館》的是一個「變成」的大寫故事。從時間中的「變成之傷害」,駱以軍以書寫的意志建構了一整座強虛構的文學時空。

◎關鍵詞:駱以軍,《西夏旅館》,虛構,時間-語言,運動-語言,故事

★國立中山大學哲學研究所副教授。

Kailin Yang╱Time-Language and Movement-Language in Western XIA Hotel —Yi-Chin Lo’s Nomad Writing

Time-Language and Movement-Language in Western XIA Hotel —Yi-Chin Lo’s Nomad Writing

Kailin Yang*

Abstract
     As a storyteller, Yi-Chun Ro raises two radical issues in the Western Xia Hotel: the first is, “Why is there history and not, rather, nothing?” Second, “How does the story become infinite?” Regarding the first question, Ro’s writing offers a micro-sensation, the discovery of space-time of the before entrance of the story. As to the second, Western Xia Hotel offers a world in which there are words in the story, but each word in turn is a story, too. It seems that the writing is already confused with Leibniz’s universe. Yet, beyond these singular forms, it is a History of becoming that haunts Western Xia Hotel. From the injury of becoming in Time, Ro endeavors to write a space-time block, which is literary fiction in the strong sense.

◎Keywords: Yi-Chun Ro, Western Xia Hotel, fiction, time-language, movement-language, story

★ Associate Professor, Institute of Philosophy, National Sun Yat-Sen University.

梁孫傑╱當他被牠看著的時候,他是誰? 在德希達那兒的貓

當他被牠看著的時候,他是誰?
在德希達那兒的貓

梁孫傑*

摘要
     德希達在1997年舍里西舉辦的研討會發表〈故我在跟隨的動物〉後,他的動物論述引發學者不少爭議,主要是著重在他論文裡呈現的那隻貓,是否真是他所謂的真實的貓,還是如其他哲學家所呈現的動物一樣,早已被文本化或哲學化了。本篇論文認為德希達以它者的眼光省視動物,並如此呈現動物,並以此為主軸,分成以下幾個討論方向:(1)簡述評論家對於德希達動物論述的批判,其中最主要的不滿,就是指責他劃地自限,無視真實動物的存在;(2)討論德希達對西方傳統視覺的批判和反思;(3)分析德希達在貓的凝視中所見到的解構思想和行動實踐的脫節,以及脫節的原因;(4)探究深淵的意義,並為德希達漠視動物的指責作辯護;(5)連結延異和動物的關係,呈現德希達對動物的關懷/凝視。

◎關鍵詞:德希達,動物,視覺,深淵,延異,中動語態,字動物

★國立臺灣師範大學英語學系副教授。

Sun-chieh Liang╱Who Is He When He Is Being Seen by It? The Cat chez Derrida

Who Is He When He Is Being Seen by It?
The Cat chez Derrida

Sun-chieh Liang*

Abstract
     Since the 1997 Cerisy Conference where Jacques Derrida presented the paper, “L’animal que donc je suis,” his attitude towards animals has been a controversial issue among scholars. The controversy mainly revolves around the doubt: whether he really sees the cat presented in this paper as a real cat, or the cat is simply another textualized/philosophized cat, like the other animals presented by the philosophers before him. This paper contends that Derrida sees the animals from the eyes of the Other, and presents them as such. The argument is divided into five parts: (1) a brief introduction to the critics’ discontent with Derrida’s animal studies, focusing on their complaint that Derrida draws an uncrossable line between the animals and himself; (2) Derrida’s critique of the traditional western account of the vision; (3) the disruption between deconstructive thinking and practical action when Derrida sees himself being seen by his cat, and the cause of this disruption; (4) the meaning of abyss, and my defense for Derrida’s attitude towards animals; (5) the relationship between différance and animals, and Derrida’s concernabout the animals.

◎Keywords: Derrida, animal, vision, abyss, différance, middle voice, l’animot

★Associate Professor, Department of English, National Taiwan Normal University.

朱惠足╱兩個歸島書寫: 夏曼.藍波安(蘭嶼)與崎山多美(西表島)

兩個歸島書寫
夏曼.藍波安(蘭嶼)與崎山多美(西表島)

朱惠足*

摘要
本文討論蘭嶼原住民作家夏曼‧藍波安的散文〈海洋朝聖者〉(1995)與沖繩西表島崎山多美的小說〈水上往還〉(1989),探討兩位離島出身作家的歸島書寫,如何從外部相對化中央的主流價值,對台灣與沖繩的「大島」國族主義提出質疑批判。兩部作品同樣站在「離島」的觀點,挑戰台灣與沖繩本島固著於土地的認同政治,同時也都抗拒以其出身的離島作為純粹本質的「烏托邦」之誘惑。兩位作家的歸島書寫如何透過從「本島」回歸「離島」的移動軌跡,記錄自身與故鄉關係的變化?又如何在歸島的過程中,重新審視、建構自己與家人、祖先之間的關係?在這樣的歷程當中,「海洋」被賦予什麼樣的多重意義?
        本文最後指出,兩個歸鄉書寫分別取徑於本質主義與反本質主義,卻在回歸過程中,顛覆翻轉自身選擇的途徑,藉由弱勢/邊緣族群「回歸」與「離散」間的辯證關係,暴露主流/中心族群與文化在現代化與資本主義化的過程中,加諸於離島的強制與壓迫。同時,他們的「回歸」溯源之旅,充斥著距離變動下的游移/猶疑,使其主體性重建逆說式地成為自我解構的過程。歸鄉者透過與故鄉之間反覆的拉近與推離,逐漸拼湊失落的關係與傳承,但他們的最終歸所不是根植「土地」的固定、排他的單一純粹系譜,而是永無止盡的辯證過程中不斷向外開展、包容一切的「海洋式主體性」。

◎關鍵詞:夏曼‧藍波安,崎山多美,蘭嶼,西表島,離島

★國立中興大學台灣文學研究所助理教授。

Huei-chu Chu╱Returning to the Home Island: Syaman Rapongan’s “Orchid Island” and Sakiyam Tami’s “Iriomote Island”

Returning to the Home Island
Syaman Rapongan’s “Orchid Island” and Sakiyam Tami’s “Iriomote Island”

Huei-chu Chu*

Abstract
This paper examines “The Ocean Pilgrim” (1995) by Orchid Island’s Indigenous writer Syaman Rapongan and “A Journey through the Water”(1989) by Sakiyama Tami from Iriomote Island, Okinawa, focusing on how homecoming writings by writers from offshore islets provide alternative perspectives that challenge the mainstream values of Taiwan and Okinawa proper, especially their “Island Nationalism.” Their writings not only interrogate identity politics with respect to the land and the idea of territory, but resist the lure of Utopia and essentialism. How do they redefine the relationships between ancestors, family, and themselves through the journey from Taiwan or Okinawa proper to their home islets? What multiple meanings are invested in the image of “ocean” during the process?
     Despite differences in genre, gender of the writer and geopolitics, these two writings both expose the violence and exploitation of these offshore islets by majority groups in the process of modernization and development of capitalism. The repetitive coming close to and getting away from the home islets help the writers to reclaim the lost relations and heritage; but the place they return to is not a single and exclusive genealogy that roots in the “land”, but “oceanic subjectivities” that keep expanding and include everything.

◎Keywords: Syaman Rapongan, Sakiyam Tami, Orchid Island, Iriomote Island, offshore islet

★Assistant Professor, Graduate Institute of Taiwan Literature, National Chung-Hsing University.

廖勇超╱流行/形天后瑪丹娜: 全球化下的瑪丹娜身體再造

流行/形天后瑪丹娜
全球化下的瑪丹娜身體再造

廖勇超*

摘要
        自從瑪丹娜出道二十六年以來,其身體往往成為論者熱烈思辨的對象。在傳統瑪丹娜研究(Madonna Studies)中,瑪丹娜的身體多以代現政治、意識形態、以及資本主義行銷策略三大模式來討論。然而,這些分析卻往往將身體預設成一種自然、未受異化的存有而非建構的結果。相對於此論點,本文試圖以瑪丹娜身體商品的曲線轉變探討「身體曲線」和「經濟曲線」這兩者間看似相異、實為相親的構連性,並將瑪丹娜身體曲線的輕盈化與全球流行音樂市場的數位化置入後資本主義商業邏輯中來討論。論文分為兩部分:第一部份「從瑪丹娜現象到瑪丹娜曲線」回顧瑪丹娜研究這十幾年來對於身體論述的轉變。第二部份「流行/形天后瑪丹娜」則試圖以布希亞(Jean Baudrillard)對於使用價值與交換價值的解構為出發,將「瑪丹娜」視為一種後資本主義身體商品並將之置於全球流行音樂市場的脈絡下進行討論與文本分析。

◎關鍵詞:瑪丹娜,瑪丹娜研究,全球化,身體,商品,布希亞,流行音樂,數位化

★國立臺灣大學外國語文學系助理教授。

Yung-chao Liao╱Fashioning Madonna: Madonna’s Body Re-invention at the Age of Globalization

Fashioning Madonna
Madonna’s Body Re-invention at the Age of Globalization

Yung-chao Liao*

Abstract
     Ever since her debut 26 years ago, Madonna’s body has been the site of heated debate among cultural critics till this day. In traditional Madonna Studies, her body is usually analyzed in three approaches: representational politics, ideology, and capitalist marketing strategy. However, these analyses tend to posit the concept of “body” as natural and a priori rather than naturalized and constructed. Against this sort of approach, this paper discusses the mutual constructiveness and complicity between “the bodily curve” and “the economic curve” by taking Madonna’s body re-invention as the primary text of analysis. A discussion on the relationship between Madonna’s body re-invention and the digitalization of global music market will also be situated within the logic of late capitalism for further reflections on the possibilities of future body imaginary. The paper is divided into two parts. The first part, “From the Madonna Phenomenon to the Madonna Curve,” looks at the discourses on “body” in Madonna Studies. The second part, “Fashioning Madonna,” takes Jean Baudrillard’s deconstruction of Marxist use value and exchange value as a point of departure to theorize Madonna’s body commodity in the context of global music market.

◎Keywords: Madonna, Madonna Studies, globalization, body, commodity, Jean Baudrillard, popular music, digitalization

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

謝世宗╱後現代、歷史電影與真實性: 重探侯孝賢的《好男好女》

後現代、歷史電影與真實性
重探侯孝賢的《好男好女》

謝世宗*

摘要
        本文首先以侯孝賢的台灣三部曲為中心,描述從《新電影之死》到《戲戀人生》的典範的轉移,但指出某些爭議的焦點,例如歷史電影是否反映真實的問題,並沒有因為承認歷史電影都是虛構的而消失。透過對《好男好女》的細讀,本文認為該片並不具有《悲情城市》眾聲喧嘩的特質,反倒是呈現一個線性的歷史敘事,指出美國介入韓戰,改變台灣歷史軌跡,也間接地影響了兩代好男好女的命運──導致政治受難者的死亡,台灣的快速資本主義化,以及社會主義理想在台灣的終結。《好男好女》透過對過去的探索與釐清,解釋了現在之所以為現在的理由。

◎關鍵詞:後現代,侯孝賢,《好男好女》,歷史電影,真實性

★國立清華大學台灣文學研究所助理教授。

S.T. Elliott Shie╱Historical Film, Authenticity, and the Postmodern: On Hou Hsiao-Hsien’s Good Men Good Women

Historical Film, Authenticity, and the Postmodern
On Hou Hsiao-Hsien’s Good Men Good Women

S.T. Elliott Shie*

Abstract
     Hou Hsiao-Hsien’s Taiwan Trilogy has been the locus of heated debates, as documented in two collections of critical essays—The Death of the New Cinema (1991) and Passionate Detachment: Films of Hou Hsiao-hsien (2000). Despite the paradigm shift from the critical theory of the former to the poststructuralism of the latter, such issues as historical authenticity and realistic representation have not been soundly dealt with by recognizing the fictional nature of all historical films. Through a reading of Hou’s film Good Men Good Women, this paper argues that it is far from enough to highlight the constructiveness of history and the self-reflexive, postmodern quality of this film. Lacking the heteroglossia of historical representation found in Hou’s earlier film The City of SadnessGood Men Good Women instead presents a linear, progressive and monological history. But, more importantly, this film, like many other historical films, treats history as a form of thought whereby one asks questions and tries to answer them. By inquiring into Taiwan’s past, Hou Hsiao-hsien gives us a reason why Taiwan has come to its present state. Whether or not this film provides a satisfactory answer, this paper aims to reassert the importance of rethinking the authenticity of historical representation in all historical films, even though faithful representation is no longerpossible.

◎Keywords: postmodern, historical film, authenticity, Hou Hsiao-hsien, Good Men Good Women

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

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