DSpace collection: 第45卷第2期

Truly Living as a Woman: Sexual Politics in Alifa Rifaat and Nawal El Saadawi's Short Stories

title: Truly Living as a Woman: Sexual Politics in Alifa Rifaat and Nawal El Saadawi's Short Stories abstract: 本篇論文探討女性情慾論述，以埃及兩位當代女性作家的短篇小說作為分析對象，阿莉發．莉法（Alifa Rifaat）的〈芭希雅的眼睛〉（“Bahiyya’s Eyes”）和〈我所未知的世界〉（“My World of the Unknown”）藉著短篇小說的現下的片段時間觀，以伊斯蘭信仰來鬆動民族主義的父權體系，納瓦勒．薩達維（NawalEl Saadawi）的〈前總理陛下之死〉（“The Death of His Excellency the Ex-Minister”）和〈眼睛〉（“Eyes”）則訴諸伊斯蘭文化來闡釋性別平權，並和西方女性主義締結若即若離的關係。透過莉法來自伊斯蘭教傳統生活形態，以及納瓦勒．薩達維主要來自民族主義論述的兩相參照，本論文檢視在七○年代逐漸開展的全球化伊斯蘭女性主義的多重位置。阿莉發．莉法的書寫破除了民族主義對傳統的迷思，說明傳統的認同並非永恆不變的，而是隨著政治、文化和經濟的深刻變動被創構和發掘出來的。相形之下，納瓦勒．薩達維則是透過民族主義與西方女性主的糾結來為埃及女性主義發聲。本文認為短篇小說特有的片段特性得以鬆動歷史大敘事，使全球化趨勢中社會邊緣的女性主體，得以在文化歸屬感的前提下發聲。以阿莉發．莉法為例，她並不是女性分離主義者，也並未自基督教汲取女性解放的途徑。阿莉發．莉法和納瓦勒．薩達維的短篇小說展演了一套不可預期的遷徙過程，回教女性不斷創構何謂回教女性的意義，並和全球女性主義場域締結碎散的連結點，特別是女性割陰議題非為回教女性所獨有，而是和西方的性／別有著壓迫、緊張、挑戰的複雜關係。 This paper examines the discourse of female sexualities by comparing the short stories written by two Egyptian women writers, Alifa Rifaat (1930- 1996) and Nawal El Saadawi (1931-). This paper regards two short stories from Rifaat, namely ＂Bahiyya's Eyes＂ (1983) and ＂My World of the Unknown＂ (1983) and two short stories from El Saadawi, namely ＂The Death of His Excellency the Ex-Minister＂ (1974) and ＂Eye＂ (1988). The daily lives of Egyptian women in these short stories initiate a present temporality that, in Rifaat's case, disrupts the myth of tradition created by both fundamentalist and modernist male-led nationalism and that, in El Saadawi's instance, inevitably connects her writing with the globalizing God's communities and Western feminist discourses. The contrast between Rifaat's traditional Islamic lifestyle and El Saadawi's nationalist-feminist politics attests to the multiple formations of the emergent Islamic feminism starting from the 1980s. Rifaat’s writing demonstrates that cultural origins and identity politics are not static, but rather must be invented and discovered according to a variety of cultural, political, and economic factors. By comparison, El Saadawi's writing exploits her contradictory stand toward employing and distancing from Western feminist theory simultaneously to give Egyptian women voices and tell their stories. The merits of the vitality, brevity and immediacy make the short story a qualified vehicle to seek cultural belongings amidst the conflicts and interconnections at work between the local and global. Rifaat is neither anti-man nor in pursuit of women's empowerment from Christianity. Comparatively, drawing discursive power from the West, El Saadawi creates more spaces in the debate of the ideologically fraught feminine virtues in Islam. The short story develops unpredictable migratory processes for Egyptian women situated at the margins of society. The intimate lives of the Egyptian women form a meaning-making process in pursuit of their autonomous identities and build fragmented links with Western gender/sexuality studies in the multiplex border crossings at diverse sites.

Against the Western ＂Barbarian＂: Narrating Bodily Resistance in Early Nineteenth-Century China

title: Against the Western ＂Barbarian＂: Narrating Bodily Resistance in Early Nineteenth-Century China abstract: 漢學家在研究中國的自我形象構建和中國對西方人的描寫時，大量借鑒了愛德華．薩義德東方主義的模型和米歇爾．福柯關於種族的討論，然而對中國身體形象的關注尚顯不足。本文為作一學術補充，著眼於十九世紀上半葉，中國與西方首次激烈的肢體衝突的開始階段，研究中國人以西方人身體為對立而構建的中國身體形象，例證活躍於西方霸權語篇中，以控制和征服為目的的意識形態，如何在受侵略的一方被用以抵抗控制和征服。本文將東方主義模型和現代種族理論用於分析中國十九世紀學術著作、政治文書、民間流傳的通俗文本等，論證中國人在抵抗侵略時，通過描繪西「夷」雖如妖魔卻並非不可戰勝的身體形象，突顯了自身優越性，從而將中國身體構建成雖遭侵害，仍不屈反抗的英雄形象。第一小節概述中國如何創造、繼承和加強西方畸形身體的刻板形象，用於自我保衛。第二小節借後殖民理論分析抵抗性的文字背後的心態和文學修辭原理。第三小節討論西方對中國身體的戕害所引起的書面回應，著重於自身受害和反抗的困難，而第四小節則研究文本如何塑造出不屈的，戰勝西方身體的自我形象。這類描寫表現出中國門戶被迫開放的過程中，人們由於認知結構受到挑戰而對其中國身份採取的積極保衛。四個小節都凸顯了西方中心的種族論和東方主義視野中的東方形象如何被逆轉。結論再次強調這一點，並對中國的西方主義和自我形象描畫在二十世紀的延續和演變略作思考。 Sinologists have made extensive use of Said's model of Orientalism and Foucault's discussion of race to research China's self-image and representation of Westerners, but the Chinese body has not received enough attention. My paper adds to this scholarship by investigating the Chinese construction of an embodied self against the Western body in the first half of the nineteenth century, the opening phase of unprecedentedly intense physical confrontation with the West, and demonstrates how ideologies active in the hegemonic discourse to contain and dominate function as opposition to domination on the part of the invaded. Engaging Occidentalism and postcolonial theories of race, I examine texts from scholarly works and official letters to writings distributed among the common people, to argue that by mapping the ＂barbarians'＂ monstrous and yet not invincible physicality, the Chinese sought to construct their bodies as superior, victimized and yet regenerative, in resistance to invasion. My first section looks at the invention, inheritance, and reinforcement of stereotypes about Westerners' physical deformity, which were employed when demand for self-defense arose. Section two uses post-colonial theories to analyze the mentality and literary techniques in the rhetoric of resistance. Next, I examine textual reactions to Western devastation of the Chinese body, focusing on the victimized self and the difficulty of resistance, which are contrasted to in the following section, where I investigate texts portraying a regenerative self that conquers the Western body. Such representations register a proactive defense of Chinese identity when the people's epistemological frames were severely challenged during the painful ＂Open Door.＂ All four sections underline the reversal of a Eurocentric discourse about race and an Orientalized East, the theme of which I revisit in the conclusion, with a reflection on the continuity and evolution of Chinese Occidentalism and self-image into the twentieth century.

Space and Memory in the Huashan Event

title: Space and Memory in the Huashan Event abstract: 劇場展演中不乏以召喚過去與集體記憶作為呼應當代社會焦慮的作品，此種文化產物及其後續事件提供了將文化意義與記憶重新形塑的經驗空間。1997年引起眾多關注的華山事件乃是由金枝演社的《古國之神─祭特洛伊》一劇所意外引發。此劇可說是面對1996年台海危機的文化性回應，卻在首演後引來警方逮捕與藝文界的抗議，最後竟造就了華山酒廠成為台灣第一個由政府廢棄建築轉為公共藝術空間的代表性園區，也就是現在藝文活動極為活絡的「華山1914文化創意產業園區」。華山事件，肇始也促使了往後更多政府廢棄廠房轉變為藝文空間，看似以藝文界的努力與發聲獲得一大勝利作為美好結局，然而這一整個事件所創造的文化與記憶重塑才是真正呼應引發此事件卻未決的台灣認同焦慮。本文以文化唯物論的觀點結合記憶與社會空間再製的理論，聚焦於華山事件中的劇場展演、記憶銘刻與文化意義的空間再製三者間之錯綜關聯，論證此文化事件乃重新界定了其時代脈絡，並進一步創造出重新定義「台灣性」的文化記憶與意義。 In response to contemporary social anxieties, performances have been used to recall the past and to invoke collective memory. Such cultural productions and their consequential events provide a space of experience that re-creates cultural meanings and re-shapes memories. The Huashan Event was initiated by the theatrical performance Troy, Troy… Taiwan by Golden Bough Theatre in 1997, a cultural response to the political incident 1996 Taiwan Strait Crisis, and followed by a series of cultural and social events including a police raid, protests, and finally turning the performing space, a deserted government winery, into a public artistic space, known as the Huashan 1914 Creative Park nowadays. Thereafter, numerous deserted government properties have been transformed into public spaces. Through making the Taiwanese government return spaces to the public, the Huashan Event seemed to gain a triumphant result, but the struggles for Taiwanese identity that initiated the whole event kept linger on. By applying the cultural materialist approach alongside with discussions regarding memory and social production of space, this paper focuses on the interconnection of performance, inscription of memory, and the spatial production of cultural meanings in the Huashan Event, and argues that this cultural event redefined its contemporary context and further contributed to produce new meanings and memories that redefined a sense of Taiwaneseness in both its artistic and social aspects.

Time and Utopian Imagination in Murakami Haruki's Hard-Boiled Wonderland and the End of the World

title: Time and Utopian Imagination in Murakami Haruki's Hard-Boiled Wonderland and the End of the World abstract: 本文主要討論村上春樹《世界末日與冷酷異境》裡的烏托邦概念。通過探討小說的時間結構，說明故事裡的「烏托邦」概念流露了對現代都市社會的種種不安，並與八十年代日本的社會經濟情況息息相關。這本小說敘述兩個存在於不同時空的世界，一個是科技先進的現代都會，另一個是古老小城，兩個世界相異又相連，形成一種辯證式的對立。作者以此批判現實社會，指出現代都市的各種弊端。發生在繁華大都會的故事反映都市人的命運如何受各種社會體制操縱、現代社會的過度物質主義等，具烏托邦色彩的平靜小鎮則批評盲目、不重視個人的集團意識及服從主義。這部科幻小說間接亦提出了歷史的重要性。以物質為中心的商業社會往往只著眼現在而忽略歷史的重要性，小說主角的記憶錯亂，代表與過去失去連繫帶來的混亂狀態。文章最後談到小說的結局，提出作者在小說最後部分突出記憶及自我的主題，以突破烏托邦概念的二元性的觀點。 This study examines the utopian vision in Murakami Haruki's Hard- Boiled Wonderland and the End of the World. It attempts to analyze the novel's utopian elements in detail and examine them in relation to the socioeconomic situation during the time it was written. The paper begins with an analysis of the novel's temporal structure, which aims to make clear that the ＂utopia＂ in the novel reveals a strong sense of anxiety over the contemporary urban condition. The observation will be further developed into a discussion of the dialectical tension between the two worlds in the novel: a technologically advanced city and an archaic town. I argue that the disparity between the two worlds can be analyzed from the standpoint of social criticism. The seemingly contrasting worlds work together to mirror and critique modern societies, pointing out a range of social maladies that prevail in the modern urban world. On the one hand, the hard-boiled city unfolds the social mechanisms that control urban people's lives; it also questions the meaning and value of a predominantly consumerist lifestyle. On the other hand, the idyllic town critiques societal conformism. This work of science fiction also obliquely criticizes historical forgetfulness, a consequence of a material- centered culture which focuses upon the present and deemphasizes the past. The consequence of severing historical links, on both a personal and cultural basis, is presented and dramatized in the novel as a chaotic memory. The last part of the article focuses on the novel's ending. It submits that the author attempts to break away from the usual binarism in utopian narratives by foregrounding the theme of memory and self at the story's end.

Troy in the Troilus and Criseyde

title: Troy in the Troilus and Criseyde abstract: 本文主旨在於探討喬叟（Geoffrey Chaucer）的《特洛伊特斯與克麗西達》故事發生地特洛伊（Troy）所扮演的角色。正文大致上分成兩部分。第一部分從歷史及心理分析的視角探討特洛伊這個傳說中的城市如何激發中世紀的文學想像。在中世紀後期，歐洲不少國家或統治者在建構本國的建國神話時，都會利用古代神話傳說宣稱他們過往的歷史不但源遠流長而且光輝燦爛。在這股風潮之下，特洛伊是歐洲許多國家喜歡攀附的對象，英國也不例外。例如蒙茅斯的傑佛里（Geoffrey of Monmouth）所撰的《不列顛諸王史》就明確指出英國人的祖先可追溯到伊尼亞斯（Aeneas）的後代布魯特斯（Brutus）。第二部分則聚焦討論《特洛伊特斯與克麗西達》中特洛伊一方的主要人物與特洛伊在命運上緊密相連。以特洛伊特斯為例，從其姓名的根源及古典藝術品中對他的描寫，都顯示了人與城市的休戚與共。此外潘德勒斯（Pandarus）及克麗西達（Criseyde）的命運，在喬叟的描述中，也都與特洛伊的際遇有微妙的交互影響。 The aim of this paper is to analyze the role of Troy in Geoffrey Chaucer's Troilus and Criseyde. The paper is broadly divided into two parts. From historical and psychological perspectives, the first part addresses the multifaceted role Troy played in the medieval literary imagination. In the late Middle Ages, a host of European ruling houses embarked on inventing their foundation myths by claiming that they had a long and illustrious pedigree. In this political climate, Troy, because of its unique position in secular history, became a city with which many nations, England included, endeavored to form connections. Geoffrey of Monmouth's The History of the Kings of Britain, for example, is a typical case wherein the author strives to demonstrate that the British are directly descended from Brutus, a scion of Aeneas. On the other hand, psychoanalytic theories will be drawn on to illustrate why as an extinct city Troy could still entice medieval European nations into eagerly associating themselves with it. The second part surveys the way in which the destinies of some major figures in the Troilus and Criseyde are inextricably intertwined with that of Troy. In the case of Troilus, his fate is bound up with that of Troy and his death therefore augurs Troy's doom; on the other hand, after Pandarus learns of Criseyde's fickleness, the always glib matchmaker is rendered speechless. And Criseyde's departure proves to be a turning point in the destiny of Troy, for it leads to self-pity on the part of Troilus, one of the most important champions of Troy. This part also advances the argument that Chaucer's reworking of the Trojan saga not only bears eloquent testimony to the contemporary mania in both the Continent and England for the legendary city, but also reflects the extent to which he was informed by the literary conventions prevailing in the Continent.

＂I Suppose It Is Not Sentimental Enough!＂: Evelina and the Power of Feeling

title: ＂I Suppose It Is Not Sentimental Enough!＂: Evelina and the Power of Feeling abstract: 法蘭希絲．伯妮（Frances Burney）的首部小說《依芙蓮娜》（Evelina）問世於十八世紀末的英國文壇並一鳴驚人，廣受讀者的歡迎。該小說對英國仕紳階級戲謔的批判以及對倫敦流行文化鉅細靡遺的描述常讓學者認為它只是一時尚儀態小說（a novel of manners）。本文從該小說十八世紀的讀者評價出發，探討其與當時文壇盛行的情感小說（sentimental fiction）的互動關係。作者解釋伯妮在《依芙蓮娜》中重新思考情感的價值與意義。當代著名的情感小說家亨利．麥肯齊（Henry Mackenzie）與勞倫斯．史騰（Lawrence Sterne）提倡情感的即刻性，認為性情中人著重的應是當下的自我情感享受，不受時間的考驗與記憶的約束。在此模式之下，情感逐漸演化成虛弱與自私的代名詞。伯妮在《依芙蓮娜》中改寫了當代盛行的情感模式，她認為情感真正的價值在於其能維繫長久的人際關係，能抵擋時光的洪流而歷久彌新，能帶給弱勢的女性希望與信心。以十八世紀情感小說的標準而言，伯妮的《依芙蓮娜》並不夠「傷感」，然而這正是作者的用意。伯妮希望塑造一個新的情感故事，一部讓讀者重新檢視感情力量的小說。 Despite its dramatic description of weeping, fainting, nervous disorder and recovery of long-lost family members, Frances Burney's novel Evelina is traditionally regarded as a novel of manners and thus as a far cry from eighteenth-century sentimental fiction. The representation of feeling in this novel therefore is either dismissed as unimportant or subordinated to the discussion of propriety. This article argues that feeling in Evelina deserves critical scrutiny precisely because the novel is not sentimental enough. By comparing moments of intense emotion in Burney's novel and those in contemporary sentimental fiction, I would reveal Burney's disapproval and revision of the emotional paradigms popularized by sentimental novelists. While Laurence Sterne and Henry Mackenzie believe that to feel intensely means to feel spontaneously, privileging impulsive passion that fragments human interactions into moments of transport, Burney maintains that the virtue of feeling lies in its ability to cement interpersonal connections and to last through such desirable ties. This reading will refocus the issue of power in Evelina, not least by showing how and why feeling becomes an unexpected and unlikely source of power for both genders.