文本裡有蹦蹦戲花旦嗎?

張小虹*

摘要

Is There a Dan of Ping Opera in the Text?

Hsiao-hung Chang*

Abstract

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

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

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。

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.

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。

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.

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。

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.