Project 123

2019-08-22

第四十八卷 第二期 總465 中華民國108年6月
Vol.48 No.2 June 2019

《中外文學》六月號推出「『共群‧現場』:第四十屆全國比較文學會議專輯」,收錄了三篇精彩的專輯論文,此外,本期也收錄兩篇非專輯論文,以及一篇訪談紀錄。專輯論文部分,李育霖以德勒茲的觀點切入,探討藝術家吳天章錄像裝置藝術作品中的數位與類比語言等美學問題;劉紀雯以創傷的「記憶之場」概念深入剖析加拿大導演丹尼‧維勒納夫(Denis Villeneuve)的電影《蒙特婁校園屠殺事件簿》與《烈火焚身》,透過影像與情節連結自我與他者,提出建構「創傷社群」的可能性;張政傑則以劉大任的《遠方有風雷》及桐山襲的《風的年代記》為例,對1960年代末期至1970年代中期臺灣保釣運動與日本全共鬥運動的文學作品進行比較分析,著眼於東亞「1968」在文學方面的影響及未來的展望。一般論文部分,卜杭賓以尼采生命哲學之視角出發,闡述柯慈(J. M. Coetzee)的小說《耶穌上學記》(The Schooldays of Jesus)如何以詩性想像與審美救贖作為創作核心的藝術特質;鍾秩維試圖將東西方學界對「抒情傳統」之重新界定及討論與台灣既有的抒情論述進行銜接,聚焦於與弗雷德曼(Raphael Freedman)的「抒情小說」及陳世驤「中國文學的抒情傳統」密切對話的台灣現代派成員之看法與實踐。訪談部分,則由梁一萍、蘇榕、張瓊惠與史書美深入對談,討論從華語語系研究到世界研究的相關議題。

中外文學六月號目錄
Contents

李育霖╱數位與手作 吳天章錄像裝置藝術作品的類比語言

數位與手作
吳天章錄像裝置藝術作品的類比語言

李育霖*

摘要

本文援引德勒茲的相關思維,討論臺灣藝術家吳天章錄像作品中數位與類比語言使用等相關的美學問題。吳天章將自己的藝術美學風格描繪為「無縫之縫」,亦即介於真/假、虛/實、生/死與善/惡等對偶之間,藝術家將兩者縫合,但彼此之間仍留有間隙。此一間隙是吳天章藝術創作的基礎。藝術家以手工方式在此操作,不斷微調,進而發展出一套類比的表現語言與形式,藉此將觀看的視覺空間轉化為手感的觸覺空間。吳天章作品以類比的藝術語言展現歷史與生命等主題,試圖將生機時間從僵化的歷史記憶中奪回,並在虛偽造假的現實中逼現生命的真實。

◎關鍵詞:數位,手作,吳天章,錄像藝術,德勒茲美學,感覺的邏輯

★中央研究院中國文哲研究所研究員。

Yu-lin Lee╱The Digital and the Manual: The Analogical Language in Wu Tien-chang’s Video Installation Artwork

The Digital and the Manual
The Analogical Language in Wu Tien-chang’s Video Installlation Artwork

Yu-lin Lee*

Abstract

Drawing on Deleuzian theories on the arts, this paper explores the artistic expressions of Wu Tien-chang’s recent video installation artwork in terms of its digital and analogical languages. Wu describes his artwork as a style characterized by “a seamless seam,” one that sutures together two distinct realms, e.g. true/false, virtual/actual, good/evil, life/death, etc., that leaves a fissure between the opposing dualities. This fissure becomes precisely the basis on which Wu builds up his artwork by developing his artistic style through a mode of modulation, a process of variation that best defines an aesthetic of the analogue, thereby transforming the visual space into a haptic one. Wu’s artwork expresses great concern about life and history through a manipulation of the analogical language, thereby seeking a temporal renewal from putrid historical memoires and a true self in the fabricated reality.

◎Keywords: digital, manual, Wu Tien-chang, video arts, Deleuzian aesthetic, logic of sensation

★Research Fellow, Institute of Chinese Literature and Philosophy, Academia Sinica.

劉紀雯╱都市電影與創傷「記憶之場」 《蒙特婁校園屠殺事件簿》與《烈火焚身》

都市電影與創傷「記憶之場」
《蒙特婁校園屠殺事件簿》與《烈火焚身》

劉紀雯*

摘要
加拿大魁北克導演丹尼‧維勒納夫的兩部都市創傷電影,《蒙特婁校園屠殺事件簿》與《烈火焚身》,均為全球創傷的「記憶之場」,透過都市場景、鏡頭運用、與平行情節見證蒙特婁都市自我與移民他者的創傷(1989年之蒙特婁校園大屠殺與1975 至1980年間的黎巴嫩內戰),以產生存活與建構創傷社群的意義。由於人們與歷史及其地點脫節,也就是「歷史」必須透過媒體再現,而不再體現於生活周遭,「記憶之場」必然產生。《蒙特婁校園屠殺事件簿》以多重觀點見證蒙特婁都市的自我創傷,試圖讓觀眾對殺手、自殺與存活的受害者這三種創傷位置產生同理心;《烈火焚身》則透過子女返鄉對都市移民他者的創傷進行考古挖掘,並運用改寫伊底帕斯情節探討內戰中受害者與加害者的親密關係。同時,透過社會空間與象徵語言,兩部影片演出與詮釋因「我他敵對」所造成的創傷歷史,並提出建構「創傷社群」的可能性。
      因此,《蒙特婁校園屠殺事件簿》和《烈火焚身》以蒙特婁為創傷發生的場域或抒解的主要樞紐,運用影像與情節深刻地連結自我與他者,受害者與加害者,從而提供建構「創傷社群」的契機,足供探討創傷社群中「同理心」與「見證」的意涵。

◎關鍵詞:丹尼‧ 維勒納夫,《蒙特婁校園屠殺事件簿》,《烈火焚身》,記憶之場,見證創傷,創傷社群

★輔仁大學英國語文學系教授。

Kate Chiwen Liu╱Urban Trauma Films as Lieux de Mémoire: Denis Villeneuve’s Polytechnique (2009) and Incendies (2010)

Urban Trauma Films as Lieux de Mémoire
Denis Villeneuve’s Polytechnique (2009) and Incendies (2010)

Kate Chiwen Liu*

Abstract
Polytechnique (2009) and Incendies (2010), directed by Quebeçois director Denis Villeneuve, present cinematic lieux de mémoire for their audience to “witness” the historical traumas experienced by Montrealers and the city’s immigrant Other (respectively Montreal massacre in 1989 and Lebanese civil war of 1975 to 1980) when living in milieux de memoire is no longer possible. With the use of filmic techniques such as mise-en-scène, point-of-view shots and parallel plotlines, the two films construct the materiality of these historical events, and present in the filmic spaces either multiple versions of the traumatic event (Polytechnique), or post-generation protagonists’ palimpsestic tracing of their mother’s traumas (Incendies), to invite the audience to empathize with the main characters and enter their traumatic community.
As a whole, the two films, using Montreal as the site of trauma or a hub of its reconciliation, present possibilities of traumatic communities while also posing questions about empathy and witnessing.

◎Keywords: Denis Villeneuve, PolytechniqueIncendieslieux de mémoire, witnessing trauma, traumatic community

★Professor, Department of English Language and Literature, Fu Jen University.

張政傑╱東亞「風雷」如何殘響? 臺灣「保釣文學」與日本「全共鬥文學」的比較研究

東亞「風雷」如何殘響?
臺灣「保釣文學」與日本「全共鬥文學」的比較研究

張政傑*

摘要

本發表聚焦描寫東亞1960年代末期至1970年代中期臺灣保釣運動與日本全共鬥運動的文學作品,以劉大任的《遠方有風雷》及桐山襲的《風的年代記》作為主要分析對象。第一部分首先確認兩位作家的創作與東亞冷戰體制之間的相互關係;接著在進行比較分析之前,揉合哈若圖寧對時空間概念的論述及史碧瓦克對比較方法的檢討,基於語言的等價性和時空關係,構築本文中臺日文學比較的基礎。第三部分以劉大任的《遠方有風雷》為例,針對其複層時空敘述與歷史視界進行討論。第四部分則闡明桐山襲如何在《風的年代記》之中進行不同文類之間的轉換,以及抒情性的文學風格。第五部分比較劉大任的客觀書寫方式,檢視二者不同的文學再現與記憶形式。最後論及東亞「1968」對近代性與民族主義的高度關注與思考,是在以往歐美中心的「1968」研究中未見的獨特性質,將是未來東亞「1968」最具有潛力的研究方向。

◎關鍵詞:1968,全共鬥,保釣,不同時間性的同時展現,雙重束縛

★日本名古屋大學文學研究科博士候選人。

Cheng-chieh Chang╱How Do Wind and Thunder Echo? A Comparative Research Between Taiwan’s “Baodiao Literature” and Japan’s “Zenkyoto Literature”

How Do Wind and Thunder Echo?
A Comparative Research Between Taiwan’s “Baodiao Literature” and Japan’s “Zenkyoto Literature”

Cheng-chieh Chang*

Abstract

This article primarily focuses on the literary writings—Liu Daren’s Wind and Thunder from Afar and Kiriyama Kasane’s Wind’s Chronicle—which are related to Taiwan’s Baodiao movement and Japan’s Zenkyoto movement from the late 1960s to the middle 1970s. Firstly, it clarifies the relationship between authors’ creative stances and the cold war structure in East Asia. The second part discusses comparative methodologies by Harry Harootunian and Gayatri Spivak, which provide an appropriate comparative approach based on issues of equivalence and spatial-temporality between languages. The third part analyzes Liu Daren’s Wind and Thunder from Afar with a particular focus on its multilayered space-time descriptions and historical horizons. The fourth part turns to Kiriyama Kasane’s Wind’s Chronicle, demonstrating how Kiriyama alternates between different genres and the lyrical style in his writings. In the fifth part, by comparing with Liu’s objective writing style, this article examines the differences in their literary representations and forms of remembrance. Then the discussion will turn to modernity and nationalism in Eastern Asian “1968” to tease out the potential for the studies of Eastern Asian “1968” in the future.

◎Keywords: 1968, Zenkyoto, Baodiao, the simultaneity of the nonsimultaneous, double bind

★Ph.D. Candidate, Graduate School of Letters, Nagoya University, Japan.

卜杭賓╱「與群星共舞」 《耶穌上學記》的兒童詩學與救贖想像

「與群星共舞」
《耶穌上學記》的兒童詩學與救贖想像

卜杭賓*

摘要

《耶穌上學記》因其極簡主義風格與神秘隱晦的主旨,自問世以來便爭議不斷,甚至有評論斥之為無聊之作。本文從尼采生命哲學與《耶穌上學記》書寫實踐的內在綰合點出發,立足文本細讀,深入闡析柯慈以詩性想像與審美救贖為創作內核的藝術特質。《耶穌上學記》摹繪了一幅「上帝死後」主體碎裂、理想消隱、記憶失落的末人世相,聚焦世俗理性與奴隸道德宰制下個體迷惘無告的情感訴求與精神苦厄,然而在晦暗與絕望中又乞靈於藝術的審美救贖,從而燭照出世俗情境中內蘊於人類生命的「嬰孩般的自我」。柯慈筆下的兒童舞者大衛揭櫫了一種尼采式的孩子精神,是集奇蹟、自由與創造於一體的超人化身,他以「宇宙之舞」召喚出現代性廢墟下掩埋的生命原初激情與靈魂律動。在後基督時代的語境中,柯慈充分挖掘小說藝術「想像不可想像之物」的無限潛能,為人類逐漸疏離的童年體驗與精神導向賦形。《耶穌上學記》藉助詩性想像超拔於世俗苦難的自我救贖浸潤了一種以「超驗性指令」為精神旨歸的崇高風格。

◎關鍵詞:柯慈,《耶穌上學記》,尼采,兒童詩學,救贖想像

★蘇州大學外國語學院博士候選人。

Hang-bin Bu╱“Dancing to the Stars”: The Poetics of the Child and Redemptive Imagination in J. M. Coetzee’s The Schooldays of Jesus

“Dancing to the Stars”
The Poetics of the Child and Redemptive Imagination in J. M. Coetzee’s The Schooldays of Jesus

Hang-bin Bu*

Abstract
 J. M. Coetzee’s 2016 novel The Schooldays of Jesus has since its publication stirred up quite a controversy for its minimalist style and the far too arcane theme, with some going so far as to disparage it as an unimportant bore. Building upon the signs of interconnectedness between Nietzsche’s Lebensphilosophie and Coetzee’s novelistic practice, this paper provides a detailed elucidation of the poetic imagination and the aesthetics of redemption that undergird the Coetzeean mode of literary vision. Set in a disenchanted universe after the death of God populated by the Nietzschean “last man” who symbolize splintered subjectivities in the absence of higher aspirations and past memories, the novel tracks the unrepresentable psychological and emotional plights of two adult characters bowed by a prevailing sense of slave morality and mediocre rationalism, while also scanning the darkened horizon for previously unnoticed glimmers of grace through sympathetically inhabiting “our neonate selves” in the aesthetic utopia of art. Coetzee’s boy dancer Davíd, disclosing through “the dance of the universe” an ethos predicated upon the primordial vitality and inner rhythm of creation before the secular onslaught of modernity, invokes the child spirit of the Nietzschean Übermensch as a paradigm of miracle, freedom and creativity. Coetzee re-envisages the diminishing contact with our embodied childhood and its relevance to our spiritual transformation through his trenchant commitment to the novel’s possibility of “imagining the unimaginable,” capturing in this latest oeuvre “a transcendental imperative” imbued with poetic imagination and sublime exuberance that sustains mankind’s quest for selfsalvation in a Post-Christian world.

◎Keywords: Coetzee, The Schooldays of Jesus, Nietzsche, poetic of the child, redemptive imagination

★Ph.D. Candidate, School of Foreign Languages, Soochow University.

鍾秩維╱抒情的政治、理論與傳統 重探一個台灣文學的批判論述

抒情的政治、理論與傳統
重探一個台灣文學的批判論述

鍾秩維*

摘要
晚近不論在中文或英語世界,古老的文類「抒情詩」(lyric)都重新引起學界的注意,學者如卡勒、王德威與陳國球等各自從文類或觀念的角度分進合擊,重新界定東西方文學史上之「抒情的傳統」。這些理論家對抒情詩的考慮著重的不再只是特定的文體風格,而更及於「抒情」(the lyrical)作為一般性批判術語可能暗示的理論意涵。簡言之,當代有志於新探「何為抒情」的學者,目前正朝背離模擬與再現的方向設定其之思考的議程。本文是一個將這些討論與台灣既有的抒情論述進行銜接的嘗試,而向來與弗雷德曼的「抒情小說」及陳世驤「中國文學的抒情傳統」密切對話的台灣現代派成員其之看法、乃至實踐,將是本文所要聚焦討論的重點。內文分成「抒情的政治」、「抒情的理論」和「抒情的傳統」三個部分,將依序處理抒情言說的公共性、抒情理論展開的軌跡,以及抒情傳統之形構的歷史座標。本文期望指出,在台灣文學與文化圈盛行的抒情論述根本上是一次華語語系闡連的結果,而更重要的是,它體現在本地獨一的處境性之中。最後,透過對於這種處境性的檢視與反思,「台灣」作為一個共同體的可能想像亦開啟了不同的層次和面向。

◎關鍵詞:台灣現代派小說,中國文學的抒情傳統,華語語系闡連,抒情理論,模擬

★國立臺灣大學臺灣文學研究所博士候選人。

Chih-wei Chung╱The Politics and Theory of the Lyrical Tradition in Taiwanese Literature: A Critical Reflection and Reconfiguration

The Politics and Theory of the Lyrical Tradition in Taiwanese Literature
A Critical Reflection and Reconfiguration

Chih-wei Chung*

Abstract
In recent years, “lyric poetry” is gaining more traction in both North American and Chinese academic communities. Critics such as Johnathan Culler, David Der-wei Wang and Leonard Kwok-kou Chan all attempt not merely to revitalize the studies on the lyric, but also redefine the “lyrical tradition.” According to these critics, “the lyrical” demonstrates the theoretical potentialities to counter the effects of mimesis and even overthrow the concept of representation. Therefore, the lyric can be taken as a reference point to explore “the lyrical” not simply as a genre but also as a vein of critical theory. This paper will engage with current scholarships on the lyrical via a juxtaposition and discussion of Taiwanese lyrical discourses. Particularly, this paper will focus on the Taiwanese Modernists inspired by Raphael Freedman’s “lyrical novel” and Chen Shih-shiang’s “lyrical tradition” in Chinese literature. This paper is composed of three sections: “the lyrical as politics,” “the lyrical theories” and “the lyrical tradition.” Together they will elucidate the interconnectedness among the lyrical, society and history. Finally, this paper seeks to propose that the Taiwanese lyrical discourse, which is an articulation attached to Taiwan’s singular situated-ness, is in essence a Sinophone lyrical enunciation. Through an investigation on this situated-ness, this paper attempts to reconsider the idea of “Taiwan” as an imaginary community.

◎Keywords: Taiwanese Modernist fiction, the lyrical tradition of Chinese literature, Sinophone articulation, lyrical theories, mimesis

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

訪談
Interview

  • 梁一萍、蘇榕、張瓊惠╱從華語語系研究到世界研究:史書美訪談
    Iping Liang, Susan Jung Su, Joan Chiung-huei Chang╱From Sinophone Studies to World Studies: An Interview with Shu-mei Shih
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