DSpace community: 淡江評論

Reception of Du Fu in the Anglophone World and the Issue of Poetic Transparency

Thu, 12 Jan 2017 06:03:57 GMT

title: Reception of Du Fu in the Anglophone World and the Issue of Poetic Transparency abstract: 本文審視了英語世界中杜甫接受的歷史，並專就「詩之透明」這一問題進行了討論。隨著二十世紀中期杜甫研究及其詩歌翻譯的顯著提升，以洪業為代表的學者們開始觸及這一在傳統中國中頗具影響力的詩歌閱讀模式。二十世紀八十年代以來，杜甫研究中比較及理論方法的進一步引入使得「詩之透明」這一問題更具爭議。宇文所安對於杜甫和華茲華斯的比較閱讀凸顯了中國傳統詩歌閱讀中的透明與非虛構性，並將其與西方傳統中視詩歌為虛構產物的重要理念進行對比。儘管宇文所安借助充滿矛盾和複雜性的閱讀模式巧妙地規避了特定的闡釋危險，仍有一些學者指出在運用「詩之透明」來區分中西方詩學假設的實踐中潛在的文化相對主義威脅。本文以閱讀杜甫為例，在「詩之透明」的閱讀模式上構建一場跨文化的對話，進而展現這一閱讀方式在傳統中國杜甫闡釋中的活力。文章認為我們既不應當將這一閱讀模式單純地視為傳統中國中存在的真實歷史現象，也不應當將其視為一種有缺陷的閱讀模式而予以排斥。為了能夠公正地對待「詩之透明」所具有的複雜性，我們應當將其置於特定的歷史文化語境中，探索這一閱讀模式在傳統中國中的不同功用。 This paper examines the history of reception of Du Fu in the Anglophone world, with particular emphasis on the issue of ＂poetic transparency.＂ Along with significant improvement in both Du Fu studies and the translation of his poems in the middle of the twentieth century, scholars such as William Hung began to touch on this influential mode of reading poetry in traditional China. Since the 1980s, the issue of ＂poetic transparency＂ has become more controversial with further incorporation of comparative and theoretical approaches into Du Fu studies. Stephen Owen's comparative reading of Du Fu and Wordsworth highlights ＂poetic transparency＂ and the non-fictionality in traditional Chinese poetry as opposed to one dominant conception of poetry as a fictional product in Western tradition. Although Owen skillfully skirts certain interpretive dangers through a mode of paradoxical and complex reading, other scholars still identify the potential threat of cultural relativism in the practice of using poetic transparency to distinguish Chinese and European poetic assumptions. This paper initiates a cross-cultural dialogue on ＂poetic transparency＂ in the case of reading Du Fu and exposes the dynamics of this approach implied by the hermeneutics of Du Fu in traditional China. It argues that we should neither confirm poetic transparency merely as a historically true phenomenon in traditional China nor dismiss it as a defective interpretive practice. Instead, in order to do full justice to the complexity of ＂poetic transparency,＂ we should situate it into the specific historical and cultural context and explore various functions of such a mode of reading poetry in traditional China.

Navigating between Shakespeare and ＂Jingju＂: Wu Hsing-Kuo's ＂Li Er Zaici＂

Thu, 12 Jan 2017 05:53:02 GMT

title: Navigating between Shakespeare and ＂Jingju＂: Wu Hsing-Kuo's ＂Li Er Zaici＂ abstract: 本文運用法國哲學家德勒茲與瓜達希發展出的概念，以當代傳奇劇場《李爾在此》為例，探討跨文化劇場中之政治性。《李爾在此》為當代傳奇劇場藝術總監吳興國編導演之作品，吳興國在作品裡跨越行當的限制，一人擔任十個角色的演出。學者已經指出，吳興國的個人面向影響此作極深，尤其反應吳興國與其師父之間的關係；然而，除了對照藝術家的個人經驗之外，此作亦開展其他的閱讀可能性。德勒茲與瓜達希的概念，對舞台再現性與文化認同之間的連結提出質疑，並有助於理解跨文化劇場展演脈絡中的政治性；以此閱讀《李爾在此》，則可觀察出，作品中對於京劇藝術以及莎士比亞《李爾王》演出史的去領域化。 This article discusses ＂Li Er Zaici＂, a performance created by Taiwanese actor Wu Hsing-Kuo, the artistic director of the Contemporary Legend Theatre. In this production Wu performs ten characters from Shakespeare's ＂King Lear＂ in three acts, drawing on performing styles and techniques from the ＂jingju＂ (Peking Opera) tradition. This internationally touring production offers an example of the dilemmas encountered by many intercultural theatre performances that explore the possibilities of mingling different cultural elements. Several scholars have discussed the personal dimension of this production, suggesting that it can be seen as the artist's attempt to reconcile with his mentor, who severed their relationship because of Wu's desire to step out of the confines of the tradition. Drawing on concepts proposed by Gilles Deleuze and Félix Guattari, which raise questions about taken-forgranted assumptions about onstage performance and cultural representation, this paper calls for a reconsideration of the presumed link between ＂jingju＂ and Chinese cultural identity. I argue that, reflective of the affliction brought upon by the modern situation, Wu's response was more a complication than a straightforward answer. From this perspective, Wu's rendition produces deterritorialisations of both the traditional confines of ＂jingju＂ and the staging history of ＂King Lear＂, and opens up new possibilities in both fields.

Translation and World Literature in Goethe's ＂West-East Divan＂

Thu, 12 Jan 2017 05:50:08 GMT

title: Translation and World Literature in Goethe's ＂West-East Divan＂ abstract: 由於全球化的潮流影響，歌德的「世界文學」概念再度受到重視，並且普遍認為是個恰當的術語，用來描述全球化時代之下的文學。然而，近年來相關的討論，大部分都著重在政治與經濟社會面向，較忽略原本歌德的「世界文學」概念中非常核心的文藝與美學上的問題。因此，本文將藉由對《西東詩集》這部歌德晚年重要文學作品的探討，試圖勾勒出原本歌德在「世界文學」概念中，所要透露出的美學與詩學上的意涵。而以《西東詩集》為研究文本，不只因為它超越地理疆界，融合歐洲與中東的文學與文化傳統，體裁上詩體與散文體並存，同時也隱含對「世界文學」概念中，相當關鍵的翻譯與詩學上的反思。另外本文也將以班雅明的翻譯理論為基礎，論證《西東詩集》裡的詩學理論中，將文學視為具有關聯性與翻譯性的基本特質，而此基本特質同樣也出現在歌德對翻譯與世界文學的思考上。 Due to the emergence of the globalized world, much attention has been paid to Goethe's concept of world literature, which can be considered an appropriate term to describe literature in the age of globalization. However, many current discussions are so dominated by the political and socialeconomic issues that the literary-aesthetic dimension, which plays an important role in Goethe's considerations, is to some extent neglected. To describe the literary-aesthetic significance in Goethe's concept of world literature, the present paper suggests an indirect approach by exploring his ＂West-East Divan＂ which consists not only of poetic cycles, but also of notes and essays discussing the literature and culture in both Orient and Occident as well as the problems of translation and poetics. In addition, with Walter Benjamin's theory of translation, the present paper argues that translation and world literature shares the poetic concept considered in ＂West-East Divan＂, which assumes that poetry or literature is essentially relational and translational.

Problematics of Translation in Ha Jin's Poetry: Poet, Critic, Translator

Thu, 12 Jan 2017 05:46:56 GMT

title: Problematics of Translation in Ha Jin's Poetry: Poet, Critic, Translator abstract: 哈金喜歡把玩中英文不同的語言特色，在創作中將兩者合而為一。他以本土化的英語論述重塑中文的諺語、譬喻與句構，翻譯、挪用並重組中文的語法，創造出饒富中文色彩的英語創作。閱讀哈金的詩集《殘骸》(Wreckage)，受過中文教育的讀者很容易就可以發現詩中有許多中國古典詩詞的翻譯及改寫。作品中的詩人引述古典詩詞，以抒發個人情懷，而讀者不禁會思考：哈金的詩作源頭到底有多大的成分是來自中國文學？我們能夠依據哪些特點以及哪些標準來辨識所謂的創意？我們要如何區分「創新」與「改造」？而這樣的區分是否會改變我們對於哈金詩作的解讀與評斷？在哈金的詩作中，對中國古典詩詞的引述與對美國現今情境的感觸，二者或並置、或融合、或相互對照、或互相影響，這其中透露著何種訊息？被翻譯的是什麼，是中國詩詞還是美國情感？被移植的又是什麼，是文學還是文化？當中國的詩文被翻譯成英文、移植至美國之後，意義是否會有所轉化？是否會因應哈金複雜的美國移民經驗而呈現出某種迥異於以往的新義？而哈金的三重身份－詩者、評者、譯者－是彼此互補或彼此衝突？而這種種文學、文化再現，又訴說了何種華人離散的意涵，這些將是本文討論的重點。 Ha Jin's works bespeak an impressive linguistic creativity. Reconfigurating Chinese language through a nativized discourse of English, Ha Jin has translated, appropriated, and reconstructed Chinese linguistic norms and specifics into English-language literature in remarkable fashion. Studying Ha Jin's ＂Wreckage＂, a reader with Chinese education will be ready to identity fragments of renowned Chinese classical verse. Thus the reader is invited to ponder: To what extent does Ha Jin draw his poetic inspiration from the corpus of Chinese literature? How shall we measure accredited creativity? How do we distinguish innovation from renovation, and do those distinctions change our reading of the poems? Although Ha Jin has written exclusively of the reality of Chinese politics and society (with ＂A Free Life＂ the only exception so far), this material does not obviate the possibility of reading his works as belonging to a tradition of US immigrant literature. In Ha Jin's poetry, the juxtaposition, interaction and fusion of classical Chinese verse and contemporary American sensibility can be telling. Which has been translated, the Chinese verse or the American sensibility? What has been transplanted and translated? Have the Chinese poetry texts, after being transplanted into the English verse, undergone a transformation of meaning and resurfaced with new significance corresponding to the complexity of Ha Jin's immigrant experiences in America? This paper aims to explore how Ha Jin's Chinese poetry texts show significance corresponding to the complexity of his immigrant experiences in America.

An Aesthetic Education in the Era of Globalization: A Forum

Thu, 12 Jan 2017 05:44:04 GMT

title: An Aesthetic Education in the Era of Globalization: A Forum

The World According to Nishida Kitaro: A New Proposal

Thu, 12 Jan 2017 05:42:16 GMT

title: The World According to Nishida Kitaro: A New Proposal abstract: 當代解決衝突的典型做法，多半根據黑格爾的辯證法則或是古希臘哲學家巴門尼德的邏輯，兩者皆以存有與同一等概念為基礎。然而，解決衝突的效果往往不令人滿意，因此我提出另一種方案，以日本哲學家西田幾多郎的概念來解決衝突；他所看到的世界同時是自我同一也是自我矛盾，這顯然較符合我們的世界，而他的論證以場域（Field）做為基礎，顯然亦較有幫助。 The typical way of solving conflicts in today's world is based on Hegelian dialectics and Parmenidean logic, both based on the notion of Being and Identity. As the result of the solution is not really satisfactory, I propose another way proposed by Nishida Kitaro, a Japanese philosopher. His vision of the world as self-identical and self-contradictory at the same time seems more useful to our world. His dialectics based on the notion of Field seems more helpful to us.

A Comparative Frame of Mind

Thu, 12 Jan 2017 05:39:45 GMT

title: A Comparative Frame of Mind abstract: 表面上看來，比較文學似乎永遠處於學科危機之中，但在本篇論文裡，藉由回應這個危機，我認為應該將焦點轉移，焦點不應放在擴張與開拓的邏輯，而應重新反思「比較」此一概念。我主張比較文學應被視為一項實踐，透過一個相對的思維框架，將不同想法納入並予以實現；我認為的「比較」這個概念是分析性，而非操作可比較或不可比較的物品；作為一種分析，「比較」不會衍生出詮釋的行為，亦即詮釋文學作品或文化物件之間的相似處或差異，反而可以指出任何物品都具有本質上的相對性。相對的思維框架也認真考量物品本身的獨斷任意性，因此不獨厚文學作品；這意味著，比較此一實踐將文化物件放置在相對的情境，無論情境中其他物品為何；此一實踐不再強調文化物件與文學作品之間是否具有內在關連，如同傳統比較文學學者意圖完成的目標，也不再企圖揭露無法相容的差異，如同後殖民比較學學者做的事。相對的思維框架將尋找有意義的圖像，無論研究的對象是文學作品或文化檔案。 In this paper, I suggest a shift of focus from the logic of expansion and extension towards a reflective reconsideration of the very notion of comparison by way of responding to the seemingly perpetual state of disciplinary crisis in comparative literature. I argue that comparative literature ought to be viewed as a practice of engaging and realizing ideas through a comparative frame of mind. My notion of comparison is an analytics as opposed to an operation on comparable or incommensurable objects. Comparison as an analytics does not entail an act of interpreting the similarities or differences between literary or cultural objects, but recognizes instead that any work is inherently comparative. A comparative frame of mind also takes seriously the arbitrariness of the object itself, and as a result does not privilege the literary object as such. What this implies is that the practice of comparison entails situating any cultural object in relation to whatever else there is. Neither invested in the intrinsic connections between cultural or literary objects, as traditional practitioners of comparative literature aimed to accomplish, nor attempting to disclose the incommensurable differences, as postcolonial comparativists have done, a comparative frame of mind looks for meaningful patterns in whatever literary object or cultural archive one happens to study.

West of Eden: Carrying On

Thu, 12 Jan 2017 05:36:34 GMT

title: West of Eden: Carrying On abstract: 「西方」歷史與文化深受所謂「單神學的身份典範」影響，而本文〈伊甸園之西〉試圖重新思考其背後的驅動力。如同聖經故事描述，世界是由單一、排他且萬能的上帝所創造，這也是第一次挪用並闡明「單神學的身份典範」的例子。這個「上帝」在「出埃及記」中告訴摩西他的名字即「我就是我是誰」（或者其他翻譯版本，「我將是誰」），這個上帝可能只是願望的投射，目的是設想一般的存在，以及特別是人類的存在，設想存在是自我一致，且不受時空（因此身體的）改變之影響；若果真如此，那麼所謂世俗文化，其中大部分可以看成是這一模式的延伸，也就是上帝以人的形式出現，降生於世上；耶穌之死絕非上帝之死，而象徵著人透過身體的復活與永生，進而神化；伊甸園的東門雖已關閉，那麼這模式也將是「回到」伊甸園的方式。在全球化的時代，這也意味著我們需要重新思考東方與西方的關係，特別藉由審視這鏡像的（以拉崗解釋「鏡像」的意涵）、不可能成功的企圖，企圖重回那種設想自我為恆常不變的時代。＂West of Eden＂ attempts to rethink the forces driving ＂Western＂ history and culture as informed by what might be called a ＂monotheological identity paradigm,＂ first deployed and articulated in the Biblical narrative of the creation of the world through a single, exclusive and universal God. This God, who can tell Moses in Exodus that his name is ＂I am who I am＂ (or in other translations: ＂...who I will be＂) is perhaps the projection of a wish to conceive being in general and human being in particular as self-identical and impervious to temporal and spatial (and hence bodily) alteration. If this is so, then much of what is called ＂secular culture＂ can be seen as an extension of this model, which is brought down to earth with the appearance of God in human form. The death of Christ, far from being the death of God, would then signify the deification of man through the promise of bodily resurrection and eternal life. This would be the way ＂back＂ to an Eden whose Eastern Gates are barred. In an age of ＂globalization,＂ this model suggests the need to rethink the relation of ＂East＂ and ＂West＂ in terms of this imaginary (in the Lacanian sense) and impossible attempt to ＂return＂ to a life in which the ＂Self＂ could be construed as perennial.

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

Wed, 11 Jan 2017 08:56:37 GMT

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

Wed, 11 Jan 2017 08:53:45 GMT

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

Wed, 11 Jan 2017 08:51:26 GMT

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

Wed, 11 Jan 2017 08:48:03 GMT

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

Wed, 11 Jan 2017 08:45:15 GMT

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

Wed, 11 Jan 2017 08:42:19 GMT

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.

The Virtual We: The Survivors, the Cities, and the Cosmos in Doris Lessing’s Shikasta

Wed, 11 Jan 2017 08:28:17 GMT

title: The Virtual We: The Survivors, the Cities, and the Cosmos in Doris Lessing’s Shikasta abstract: 在本論文中，我試著探索萊辛小說中並置古老城市與浩劫後未來城市的意圖。一個是遵循古老而僵化的殖民系統，另一個是對應直覺演化式的新設計，遠古幾何城市因含納異質元素而轉化成潛態化的浩劫後城市，而此城市又與希卡斯塔（地球）上的倖存者形成一種無法區辨的關係，這樣的關係使得兩者能進而與宇宙力量產生連結。事實上，城市與倖存者之間界線的消融有助於形成一種海納岩石、植物、猩猩、巨人、希卡斯塔人、加諾波人等概念的新的「眾我」。我將引用德勒茲與瓜特里對於知感與情感的看法去理解倖存者與城市之間的微妙關係，並且藉著城市演化的觀念，闡明萊辛的潛態宇宙觀，最終揭示啟動潛態宇宙進化的關鍵元素：全新的「眾我」。 In juxtaposing the ancient geometric cities, of old, static, colonial design, and the future post-catastrophic utopian cities, of new, intuitive, evolutionary design, Lessing highlights the transition from one to the other. The post-catastrophic cities and the Survivors form an indiscernible relationship and connect with the cosmic force, SOWF. The transition vividly maps the divergences and mutations of the Survivors and their becoming-city, envisioning the cross-fertilization between the two parties. The dissolving of boundaries between the cities and the Survivors facilitates the formation of a new virtual ＂we＂ that encompasses different beings such as stones, plants, apes, Giants, Shikastans, and even Canopeans and triggers the emergence of a virtual cosmos of multiplicity. Deleuze and Guattari’s concepts of perceptand affect promote understanding of how the Survivors, in the ＂virtual＂ act of rebuilding, evolve and ＂become the city＂ instead of monitoring the rebuilding via conscious implementation of an ＂actual＂ rigid cosmic Master Plan, highlight the divergences of the evolving cities, and reveal the formation of a new virtual ＂we,＂ a key element of the virtual cosmos of symbiotic evolution.

Illusion and the Self: Honglou Meng, Wilhelm Meister, and Bildungsroman

Wed, 11 Jan 2017 08:25:30 GMT

title: Illusion and the Self: Honglou Meng, Wilhelm Meister, and Bildungsroman abstract: 本文從西方“教育小說”或“成長小說”（Bildungsroman）理論的角度解讀《紅樓夢》，並將其與歌德的小說《威廉˙麥斯特》進行比較。《威廉˙麥斯特》初版於1795年，被廣泛看作“教育小說”的開山之作。本文比較的目的不是將西方理論強加于中文作品，而是期望從《紅樓夢》和它的社會與文化背景中分辨出一種尚未被察覺的“現代性”。大體而言，我認為《紅樓夢》與西方“教育小說”有美學上的共通性，因為兩者同樣表達了自我與社會之間一種難以解決的脫節關系，並通過這一結構呈現歷史中的文化錯位過程。在《紅樓夢》與《威廉˙麥斯特》之間，我們可以發現一系列關於這種內外衝突的相似主題，例如主人公天真的理想主義和藝術家氣質，在他愛情關系中社會與感情力量的對比，還有他相容了宿命論與諷刺性的神秘“啟蒙”過程。由於這兩部作品的成書時間大致相同，這些相似之處尤其值得注意。目前學界正在重築“早期現代性”的東方因素和建立“橫向彙通宏觀歷史觀”。在這種新知識視野中，我們應關注《紅樓夢》與《威廉˙麥斯特》這兩部東西敘事文學標誌性作品之間的相似結構。這種比較分析可以使一向以歐洲為中心的“教育小說”和與其相關的現代自我觀的課題更多元化，也可以在跨文化的角度下重新詮釋地域性的經典作品。 This essay offers a reading of the famous eighteenth-century Chinese novel Honglou Meng 紅樓夢 in light of theories about the European Bildungsroman and in comparison to Johann Wolfgang von Goethe's novel Wilhelm Meister's Years of Apprenticeship (Wilhelm Meisters Lehrjahre), which was first published in 1795 and is widely regarded as the seminal example of the Bildungsroman narrative form. The purpose of this comparative exercise is not about imposing Western theories upon Chinese texts, but about discerning an intellectually obscured form of ＂modernity＂ from Honglou Meng and the social and cultural contexts around it. In general, my argument is that Honglou Meng is aesthetically analogous to the European Bildungsroman in that it likewise dramatizes a problematic incommutability between the self and society, and in this manner crystallizes a larger process of cultural displacement. Between Honglou Meng and Wilhelm Meister one can indeed observe a set of striking parallels that all serve to manifest this inner-outer divide, such as the protagonist’s naive idealism and artistic temperament, a social-lyrical binary that characterizes his romantic interests, and his mystified ＂enlightenment＂ process that combines a sense of irony and a sense of fatalism. Considering that the two books are closely coeval, these similarities are especially remarkable. Given the emergent thesis of a re-Oriented ＂early modernity＂ and concurrent scholarly movements toward ＂horizontal integrative macrohistories,＂ attention to these structural resemblances between Honglou Meng and Wilhelm Meister-two literary landmarks in Chinese and Western narrative histories-can help pluralize theories of the Bildung-sroman and the related question of the modern self beyond the European trajectory, while reconfiguring the implications of these regionally canonized works in transcultural terms.

A Study of the Prose of Choong Yee Voon (Zhong Yiwen): A Case of a Malaysian Chinese Writer in Taiwan

Wed, 11 Jan 2017 08:22:44 GMT

title: A Study of the Prose of Choong Yee Voon (Zhong Yiwen): A Case of a Malaysian Chinese Writer in Taiwan abstract: 被譽為臺灣文學獎常勝軍的鐘怡雯(1969-)不僅成功立足異鄉，同時深得臺灣文壇與讀者的認可，確是一值得研究分析的旅台馬華作家個案。本文探討為何好些旅台馬華作家因國籍問題而難以融入臺灣文壇，然而鐘怡雯卻深受歡迎。外貌與文學創作才華固然對其知名度的提升有直接影響，更重要的是鐘怡雯善用個人複雜的身份與背景來超越國籍，既深入臺灣文學場域又根植大馬，同時又更進一步把文學觸鬚伸向國際文學舞臺。. Described as an ＂all-conquering＂ contestant in major Taiwanese literary award competitions for Taiwanese writers, Choong Yee Voon (1969-) presents an interesting case of a Malaysian Chinese immigrant writer in Taiwan, as she finds her foothold in a foreign land and wins the hearts of Taiwanese readers and the literary scene alike. While good looks and immense literary talents certainly contribute to her popularity, this paper investigates why is it that many other Malaysian Chinese writers see themselves as being discriminated against as facing discrimination in the Taiwanese literary scene due to their foreign nationality, while Choong, on the contrary, is embraced by readers and indigenous writers alike. This paper will show that Choong’s urge to utilize her multi-layered individual identity to transcend nationality shows her desire to not only blend into the Taiwanese literary scene, but also to maintain her roots in Malaysia, and to become part of the international writing scene.

Mythicizations of the Nationless: Hong Kong Spectral Temporality

Wed, 11 Jan 2017 08:18:52 GMT

title: Mythicizations of the Nationless: Hong Kong Spectral Temporality abstract: 本文以香港的後殖民性及國家觀念的內涵為依歸，從中探討鬼魅對時間重構及根源重塑在族群想像中的重要性。在香港，鬼魅及時空想像的延申，掙脫殖民地歷史及回歸後國家民族主義的牢籠。香港的敘事及論述，在鬼魅身上追蹤時間的足跡，修補歷史的斷裂，讓香港的故事，昇華至神話的境界。在去殖化的過程之下，在家與國的幻影之中，透現出屬於香港的時空構想。 Focusing on Hong Kong’s unique postcoloniality oscillating in between nationalization and nationlessness, this paper conceptualizes this particular tension as the perfect medium for materializing and valorizing specters to redeem temporality and to invent originality for a community. Delineating the temporalizations orchestrated via exorcism and clairvoyance, this exploration scrutinizes the correlations between communal imagination, spectrality and time to achieve a historical conglomeration mixed by facts and imagination of the city’s colonial past and the ongoing nationalization. Hong Kong spectrality, as temporalized by the clairvoyant, serves as a critique against the universality of nationalism with its unique temporal configuration and interrogates the legitimacy of colonial and postcolonial histories. To scrutinize Hong Kong mythicizations is also to trace the paths where ghosts are summoned and materialized in order to reclaim a sense of originality and to redeem a temporal experience peculiarly Hong Kong, which also foregrounds the city’s cultural alterity in the processes of decolonization and nationalization among its Asian neighbors.

Relational Interracialism and the American Dream of Race in Ha Jin’s A Free Life

Wed, 11 Jan 2017 08:16:27 GMT

title: Relational Interracialism and the American Dream of Race in Ha Jin’s A Free Life abstract: 此千禧年之際已預言理論與文學研究跨種族的趨勢。本文主要以哈金的小說《自由生活》、其他小說與詩為例，認為種族和諧是哈金等美國作家在故事與詩中探討美國夢的種族關係。以約翰．E．法爾利的四個種族理論模式，本文分析哈金的小說《自由生活》中分工、收養、羅曼史與友情等合作的種族關係，另提出自創的「關係跨種族主義」一詞，此主義認為將種族置於種族間看待為一種可行的理論。關係跨種族主義探究種族間的關係，提出多元文化主義在實施上的修正，將種族間的關係奠基於種族間的合作與文化的相互影響，且將衝突限制於可解決的範圍內。《自由生活》開始建造與現代人際關係與情感有關的美國夢，以合作與相互影響取代衝突來定義種族關係，其中合作重於衝突。探討的作品包括哈金的《自由生活》、《南京安魂曲》、《背叛指南》與詩歌，與約翰．岡田的《雙不男孩》，兩位作家描繪的未來遠景。 Critical discussions in the new millennium have augured an interracial turn in both theories and literary scholarship. This paper argues that interracial harmony is the American dream of racial relationships that American writers, including Ha Jin, explore in literary narratives and poetry, and I will illustrate this American dream of interracial harmony with his novel A Free Life and examples from other novels and poems. Through four of John E. Farley’s models of racial theories this paper analyzes collaborative interracial relationships in the division of labor, adoption, romance, and friendship in Ha Jin’s novel A Free Life, while advancing a relational interracialism, a term I coined as a viable theoretical grappling with the subject of race between races. Relational interracialism studies the relationality between races and suggests that multiculturalism in practice can be revised so that interraciality is premised on interracial cooperation and cultural infiltration with conflicts constrained within a resolvable range. A Free Life starts constructing an American dream of modern human relations and emotions less in their contradictions than in their relationality in which cooperation and mutual infiltration supersede conflicts to define interraciality. Ha Jin in A Free Life, Nanjing Requiem, A Map of Betrayal, and poems and John Okada in No-No Boy paint a vision for the time to follow.

Narrative, Orality, and Native-American Historical Consciousness: The Critique of Logocentrism in Louise Erdrich’s Tracks

Wed, 11 Jan 2017 08:13:42 GMT

title: Narrative, Orality, and Native-American Historical Consciousness: The Critique of Logocentrism in Louise Erdrich’s Tracks abstract: 鑒於對被遺忘和未受重視的原住民論述日益關注，本人認為應適時地回到傳統西方歷史論述與原住民的歷史意識之間辯論的核心文本。南西．彼德森在1994年的《現代語言學會會刊》(PMLA)上，刊登了一篇名為「歷史、敘述、路薏絲•鄂萃曲的《蹤跡》」一文，讚揚鄂萃曲的小說平衡於兩個極端：一方是傳統記錄性歷史的再現思考，另一方是由後結構主義反再現所提出的語言深淵。彼德森對鄂萃曲小說的評價是細心且恰當。然而，我所關注的是彼德森低估了鄂萃曲賦予小說中主角納納布許的重要性。納納布許拒絕屈服於西方書寫典範，且讚揚美國原住民阿尼許納比族的口說傳統，並反抗殖民書寫霸權影響。彼德森似乎未察覺鄂萃曲削弱寶琳（小說第二敘述者）敘述聲音。彼德森宣稱「鄂萃曲的小說掌握了納納布許和寶琳緊張對立的觀點」。表面上的確如此，但是進一步探討卻有兩個關鍵問題：首先，她敘述記錄的奇譎與疏離本質；再者，納納布許的口述優點在互為主體的矩陣中茁壯，皆由他的社群和自然世界培養而成。因此，我認為《蹤跡》並非如彼德森所宣稱的「兩派並行」。更深入閱讀反而可以探索納納布許根植於人類與動物多元相互滋養中，發展認同感與敘述聲音，一種從當代物質生態論述而言，深具生命力的民主。 In view of the rising interest in resurrecting forgotten or invalidated modalities of aboriginal discourse, it seems timely to return to a pivotal text in the debate between traditional Western historical narrative and Native-American historical consciousness. Nancy J. Peterson, in a 1994 PMLA article titled ＂History, Narrative, and Louise Erdrich’s Tracks,＂ champions Erdrich’s novel as a praiseworthy compromise between two extremes: the representational claims of conventional documentary history on the one hand, and the linguistic abyss proffered by poststructuralist anti-representationalism on the other. Such an assessment is both meticulous and apt. My contention, however, is that Peterson underestimates the strength Erdrich gives one of the novel’s narrators, Nanapush, who refuses to capitulate to the Western paradigm of written discourse and instead celebrates the oral tradition of the Anishinabe Native Americans, giving it a place both outside and impervious to the hegemony of colonial written discourse. Peterson also seems to miss the extent to which Erdrich undercuts the validity of the narrative voice of Pauline (the novel’s second narrator). Peterson’s claim that ＂Erdrich’s novel holds Nanapush’s and Pauline’s antithetical views in tension,＂ while certainly true on a formal level, is questionable in light of two key issues: first, the deceitful and alienating nature of her narratival recordings; second, the strength with which Nanapush’s narrative flourishes within an intersubjective matrix fostered by those within his community as well as the natural world itself. Consequently, Tracks may not be as bipartisan in its compromise as Peterson claims it to be. A richer reading of the text, proffered here, proposes exploring the embeddedness of Nanapush’s sense of identity and narrative voice within a sustaining and ever-nourishing multiplicity of human and animal life forms, a kind of democracy of animate life, to borrow and modify a phrase from contemporary material ecocriticism.

The Chinese Taoism of Fred Faulk in Tennessee Williams' The Night of the Iguana

Wed, 11 Jan 2017 08:07:08 GMT

title: The Chinese Taoism of Fred Faulk in Tennessee Williams' The Night of the Iguana abstract: This paper explores the Chinese cultural influence on the character of Fred Faulk in Tennessee Williams' The Night of the Iguana via a comparative approach. Departing from the traditional Christian interpretations of the play and its characters, the paper argues that Tennessee Williams' creation of Fred Faulk is influenced by Chinese culture in general and by Taoism in particular. Faulk's Taoist lifestyle is an integral part of his character and helps establish the play's Taoist theme as a philosophical framework. A critical eva-luation of Faulk's character from a Taoist perspective rather than a traditional Christian approach can show how he fulfills a distinct function within the play's larger dramatic structure. Tennessee Williams shows the Chinese influence on Faulk in three ways. First, Faulk is directly influenced by his Chinese cook's philosophy of ＂Mei yoo guanchi,＂ (沒有關係) or ＂no sweat.＂ Second, Faulk's personality is strikingly similar to that of Hannah Jelkes, who has obviously been much influenced by Chinese philosophy and so points us to Faulk to foreshadow Hannah, who then reminds us of or points back to Faulk part of Tennessee Williams's dramatic strategy. Third, Faulk's lifestyle perfectly mirrors that of a Taoist sage and hermit such as Jiang Taigong and Chuang Tzu. The paper first establishes the clear connections between Chinese Taoism and Tennessee Williams, and then analyzes Faulk's personality via concepts of parallelism favored by American comparative literature scholars. Although Fred Faulk is an ＂absent＂ character, he is an important symbolic figure and an organic part of Tennessee Williams' Oriental theme - one which has not yet really been studied. The importance of Faulk becomes clear through an in-depth analysis of his personality and comparison with the play's main characters. As a character in absentia, it is not surprising that critics have not paid sufficient attention to him, let alone to the Chinese Taoist theme he and Hannah embody. Yet, Williams has given Faulk a unique lifestyle that not only resembles that of Hannah but that sharply contrasts with the lifestyles of his wife Maxine and his friend, the Reverend T. Lawrence Shannon. Such comparisons make Tennessee Williams' own Taoist attitudes toward life as reflected in the play all the more clear. 本文從比較文學角度來檢視中華道教文化對《鬣蜥之夜》劇中角色佛雷德．福克的影響。不同於從傳統基督教的視角來檢視福克這一人物，本文以福克受中華文化，尤其是道教影響的事實為切入點，從道教理念的視角來檢視此一人物，進而展示道教理念對全劇的重要性。田納西．威廉斯創作的福克這一人物是受了中國文化影響的,尤其是受了道家文化的影響。這一影響可從三個方面來論證：一、福克可以說是直接受到他們旅館中國廚師「沒有關係」處世哲學的影響；二、福克的性格和韓娜．基爾科斯非常相似，而韓娜顯然在中國旅行中受到中國文化影響, 而在劇中威廉斯似乎以後者影射前者, 這就間接暗示福克也受了中國文化影響；三、福克的生活方式極像道家著名隱士莊子。本文後段以美國比較文學平行理論來分析福克的性格和比較他與劇中主要人物的關係。雖然福克在劇中沒有出場，他對劇中主要人物的影響是顯而易見的，且具有重要的象徵意義。通過對福克性格進行深度分析以及對他與劇中主要人物進行比較就可以清楚地看到他在劇中的重要性, 尤其是他在中國文化主題中的重要性，而此一主題的重要性到目前為止還沒有任何評論家提到過。

Poetry Blogs and the Posthuman in Postcolonial Taiwan

Wed, 11 Jan 2017 08:04:46 GMT

title: Poetry Blogs and the Posthuman in Postcolonial Taiwan abstract: This article engages the use of poetry blogs in light of the critical writings of Alain Badiou, Jodi Dean, Cary Wolfe, Katherine Hayles and others who shed light on how posthuman autopoietic relationality forms means of conceptualizing how postcolonial subjects may overcome the oppressive legacies of outside rule and restore a sense of sovereignty through transnational networks. These Taiwanese poets - Chiau-Shin Ngo (吳昭新) and Kuei-shien Lee (李魁賢) - present work in Mandarin, Taiwanese, Japanese and English translation speaking to issues of politics and aesthetics in contemporary Taiwan. Their poetry blogs are shown to continue to reorient the legacies of occupying regimes that excluded Taiwanese from positions of power until the late 1980s. This paper explores how poetic form and the blog medium provide an extension of uses of poetry in posthuman prosthetic networks to form tactics aimed at displacing the KMT apparatus while serving as tools of decolonization and the renegotiation of international affiliations. 本文根據 Alain Badiou, Jodi Dean, Cary Wolfe, Katherine Hayles 等批評家之理論來探討部落格詩的運用。上述理論家闡明後人類自我生成之理論可形成讓後殖民主體得以克服被外在規則壓迫的後遺症，並透過跨國家網絡，恢復某種程度的主體性。吳昭新及李魁賢這些台灣詩人均發表針對當代台灣政治與美學議題之中文、閩南語、日文與英文譯文之詩歌。對於影響至八零年代末期那些外來政權所遺留下的壓迫傳統，這些部落格均持續挑戰與反抗。本文探討詩的形式與部落格媒介何能在後人類的修復網絡中形成戰略，好擴大詩的運用而置換國家機器，並同時能當作是去殖民與重新協商國際聯盟的工具。

Theories and Histories: Reconstructing the Legacies of Sir Robert Hart and the Chinese Maritime Customs Service

Wed, 11 Jan 2017 08:02:29 GMT

title: Theories and Histories: Reconstructing the Legacies of Sir Robert Hart and the Chinese Maritime Customs Service abstract: The legacies of Sir Robert Hart and the Chinese Maritime Customs Service have been characterised by a variety of theories in modern China, ranging from Cantonisation, imperium in imperio, synarchy, impactresponse, tradition-modernity, revolutionary Marxism, informal empire, institutional breakthrough, etc. The controversy demonstrates the wide gap between the ways in which the theories and histories of Hart and the CMCS have been told and remembered in China, on the one hand, and in the West, on the other hand, in the twentieth century. The reconstruction of the legacies of Sir Robert and the CMCS enriches the theoretical ingredients bridging Chinese and Western scholars' different theories about modern China. The theorization of modern China was an evolutionary process which combines different groups of scholars' memories, experiences and histories. This article aims to examine how theories were generated from the research on the CMCS, how these theories argue against each other and how these debates generate new theories. 許多有關於近代中國的理論源自於中國海關總稅務司赫德的歷史遺緒，這些理論包括：廣州化、國中之國、共同治理、衝擊回應、非正式帝國和機構突破等等。歷史上記載的赫德與中國海關，在中國和在西方，有不同的描述和記憶，導致了這些理論之間的辯論。重建中國海關和赫德的遺緒大大豐富了中國和西方學者詮釋現代中國的內涵，近代中國的理論化是一段漸進的過程，涉及不同學者的記憶、經驗和歷史。本文旨在分析過去中國海關的研究如何催生有關於近代中國的理論、這些理論之間的辯論、以及如何相互激盪出新理論。

The Cultivation of Citizens: Degeneration, Sexuality, and Nationalist Biopolitics in Zhu Guangqian's on Cultivation

Wed, 11 Jan 2017 07:59:29 GMT

title: The Cultivation of Citizens: Degeneration, Sexuality, and Nationalist Biopolitics in Zhu Guangqian's on Cultivation abstract: This paper looks at Zhu Guangqian (朱光潛) and the discourse of collective ＂Life＂ in the Republican Era (1912-49), focusing specifically on the biopolitical dimensions of the liberal ＂aesthetic state＂ (Lee 2006) imagined in Zhu's On Cultivation 《談修養》. In this work Zhu adopts Arthur Schopenhauer's ideas about the racial ＂will to life＂ (＂species will＂) and degeneration and combines them with an indigenous emphasis on Confucian ideas of selfcultivation (xiuyang 修養). Zhu, also a follower of the Italian liberal Benedetto Croce, argues that the success of liberal democracy in China depends largely on self-control and studious attention to individual ethical behavior, particularly as regards sexuality. Zhu thus blends early-20th century proto-eugenicist discourse with a liberal emphasis on personal choice and responsi-bility, softening the Chinese nationalist discourse of the ＂New Life Movement＂ (xinsheng yundong 新生活運動, 1934) and formulating a theory of responsible popular citizenship which is more in line with Sun Yat-sen's Three Principles of the People, particularly ＂Popular Life＂ (Minsheng 民生). This paper tries to situate On Cultivation within the larger context of changes taking place both without and within the late Republic - i.e., the rise of Kuomintang biopolitics, by focusing mainly on Zhu's Schopenhauerian understanding of sexuality and ＂racial life.＂ From a Foucauldian standpoint we conclude that Zhu's discourse of ＂cultivation＂ is an amalgam of ethical attitudes and mores for citizens that acts partly as a counter-discourse which runs against and parallel to the Kuomintang state's biopolitical ambition of creating disciplined, ＂docile bodies.＂ That is, although it is possible to see governmentality as a macro-management or ＂government of souls,＂ it is also possible to understand it as something similar to Zhu's principles of selfcare in On Cultivation - that is, as a matter of concerned personal aesthetics. Finally, although I partly draw on Foucault's late lectures on the hermeneutics of the Western subject and the care of the self (epimeleia, or ＂self-care＂), my goal is to understand how Zhu's emphasis on ＂species will＂ (sexual conduct) as a means of race regeneration can be considered in the context of individual, socialized cultivation (xiuyang 修養). 本論文研究朱光潛與共和時期（1912-49）的集體「生活」論述，特別著重朱氏的《談修養》中自由主義「美學狀態」的生命政治面向。在此作品中，朱氏採用叔本華的觀點，講述種族的「生命意志」（「物種意志」）和退化的概念，並結合孔夫子的修養概念，強調土生土長的重要性。同為義大利自由主義者克羅齊的追隨者，朱氏認為中國自由民主的成功，高度仰賴自律與殷切地關注個人的道德行為，特別是性方面的事情。因此，朱氏將20世紀早期之優生學為先的論述，結合自由主義所強調的個人選擇和責任，以此和緩中國民族主義論述中的「新生活運動」，形構出一種有責任且受歡迎的公民權理論，以期更符合孫中山先生的三民主義，特別是民生的部分。本文主要著重於朱氏對叔本華所作的闡述，試圖將《談修養》置放在更廣大的歷史變動的脈絡中討論－國民後期之內和之外，例如國民黨生命政治的崛起。從傅科的觀點，朱氏的修養理論與國民黨培養受規訓「服從的身體」形成對抗論述。

Cinematic Folds underneath ＂East Asia＂: Humorous Traces of History in H Story and Secret Sunshine

Wed, 11 Jan 2017 07:56:57 GMT

title: Cinematic Folds underneath ＂East Asia＂: Humorous Traces of History in H Story and Secret Sunshine abstract: Especially since the 1930s, ＂East Asia＂ as a spatial imaginary has been increasingly deployed by Imperial Japan and the U.S. to institute a larval network of nation-forms that locally mediate and effectuate biopowers. For critical intellectuals today, a critical exodus out of an ＂East Asia＂ as an imperial network of nation-states is not only necessary; it has to propose an alternative process in politics and arts whereby categories of nationality, culture, and colonial difference are at once deconstructed and overcome. This essay first situates the genealogical origin of the term ＂East Asia＂ in Japanese imperialism in the 1930s and then considers two theoretical efforts to critique metaphysical assumptions about culture that legitimate such imperial ideology: Martin Heidegger's ＂The Age of the World Picture＂ and Rey Chow's The Age of the World Target. If both Heidegger and Chow underscore the importance of ＂theory＂ as a practice in which currently foreclosed modes of life can be ＂thought,＂ they also shed a critical light upon a symptomatic return to a non-theoretical culturalism in East Asia today - most notably exemplified by the term ＂Asia as method＂ - whereby anticolonial political desires remain firmly tethered to the imperial scheme of culture. In light of Heidegger's exploration of ＂invisible shadows＂ and ＂secret emitting of light＂ that haunt ＂the world as picture,＂ cinema emerges as a productive site in which conceptualizations of ＂East Asia＂ as a metaphysical＂picture＂ or ＂target＂ can be undone. The essay looks at two films, Suwa Nobuhiro's H Story (2001) and Lee Changdon's Secret Sunshine (2007), in which historical secrets re-emerge as the instances of newness in the present and release their witnesses from the schema of cultural nationalisms in Japan and South Korea. The paper concludes by suggesting a potential intersection among Heidegger's reading of Kantian ＂schema,＂ Naoki Sakai's critique of a ＂schema＂ of co-figurative nations, and Gilles Deleuze's notion of ＂humor＂ as a ＂fold＂ that critically traverses the schematized world. 自1930年代開始，「東亞」做為一種空間想像，長期以來漸漸被日本帝國和美國當作是建置國家基礎網絡的形式，成為實行在地生命掌控的媒介。對於現今的知識份子而言，以一種具批判性的出離「東亞」做為民族國家的帝國網絡，實屬必要；該方法必須尋求另一種政治和藝術的途徑，在此同時，國族、文化和殖民差異的範疇將被解構。本論文首先處理「東亞」一詞於1930年代日本帝國主義的系譜來源，接著思考兩種批判形而上假說的理論如何處理帝國意識形態合理化的文化現象：馬丁．海德格的〈世界影像的時代〉，以及周蕾的《世界標靶的時代》。倘若海德格和周蕾兩人皆強調以「理論」做為一種實踐的重要性，他們也清楚地揭示出一種轉向當今東亞非理論的文化主義徵兆，其中最為顯著的例子即是「亞洲即理論」一詞。在此其中，反殖民的政治欲望仍舊受到帝國文化範疇的束縛。

Contested Theory in East Asia - A Case of Inter-determined Constitution of Proletariat in the 1920-1930s

Wed, 11 Jan 2017 07:53:52 GMT

title: Contested Theory in East Asia - A Case of Inter-determined Constitution of Proletariat in the 1920-1930s abstract: This essay problematizes East Asia with theory by simultaneously problematizing theory itself. In such understanding, theory by nature is self-reflexive and self-contesting, ceaselessly questioning the legitimacy of established rules. Since theory remains the bearer of questions to all things it encounters (including itself), any attempt to provincialize theory (as European or as Asian), or to claim ownership over it with a national, racial, or civilizational identity would not be possible because theory is something other than itself and intrinsically aporetic. This paper takes the case of theory exchange in East Asia of the 1920s-30s in relation to the proletarian arts movement by looking at how the very meaning of ＂proletariat＂ is grasped in order to understand the contested nature of theory. 本文同時對「東亞」與「理論」進行互相扣連的思辯。「亞洲」不斷被質疑其實質存在性，而「理論」本質是自省與自我爭辯的，又不休止地向既有秩序提出疑問。正因為這種特質，任何把理論加上歐洲或亞洲標籤的企圖，或將理論視為某個國族、文化身份的設想，都變得不太可能，因為理論往往只能成為自己以外的東西，是內在的自我質疑。本文以二十世紀二、三十年代東亞的無產階級文藝運動作為例子，追溯「理論」在當時中、日、韓等地的互動反思，以至對「無產階級」這個觀念的不同反響。

The ＂Other＂ Asia: In Search of a Possible World of Asia

Wed, 11 Jan 2017 07:50:53 GMT

title: The ＂Other＂ Asia: In Search of a Possible World of Asia abstract: This present paper explores the problems concerning the conceptualization of Asia. To tackle this formidable problem, it undertakes a review of the well-known notion of ＂Asia as method,＂ investigating its development in relation to the condition of humanity upon which Asia is conceptualized during various historical phases. Further, the paper proposes a new concept of Asia to emphasize its thinking movement that constitutes a philosophical event through creating new concepts. To illustrate this new concept of Asia, the term ＂the Other Asia＂ is coined and the famous novel Orphan of Asia by the Taiwanese writer Wu Zhuoliu is also introduced and discussed. This paper argues that the act of problematizing Asia not only has the potential to bring forth a new and better understanding of Asia, but also signals a particular moment in time when a revival of philosophical power in Asia can actually become possible. 本文探索亞洲概念化的相關問題。面對這一棘手的問題，本文回顧「亞洲作為方法」這一廣為人知的觀念，討論此一觀念發展相關的人文條件，而亞洲正是在此歷史脈絡中被概念化。此外，本文引介一個新的亞洲概念，強調其思想運動，此運動透過建構新概念而形成哲學事件。為了闡述這一新的亞洲概念，本文新鑄了「他者亞洲」一詞，並以台灣小說家吳濁流的著名小說《亞細亞的孤兒》為例加以說明。本文認為，重新將亞洲問題化不僅可能更新且更好地理解亞洲，同時更標誌亞洲思考力量實際復甦的特定歷史時分。

"Doing" Theory In and About East Asia: Transgression and Translation

Tue, 27 Dec 2016 06:14:42 GMT

title: "Doing" Theory In and About East Asia: Transgression and Translation abstract: Academics typically conceive of theory as a Western way of conceptual thinking or producing knowledge. In today’s academic context, nevertheless, theory is influential in the non-Western world as well, as many scholars outside of the West adopt a theoretical stance in the production of knowledge. Therefore, as scholars of East Asia, we must rethink its relation to theory. Theory has been discussed in the literature in connection with East Asia, but the place of theory, both in the study of East Asia and in the region itself, still remains obscure if not unstable. Here, my term “East Asia” refers to both geographical and academic sites; that is to say, the term refers to both the region of East Asia and the academic field of East Asian studies, especially in Western academia. Native East Asian scholars of any subject, and scholars who study East Asia, whether they are situated in a Western or non-Western academic context, all face similar challenges when they attempt to engage in theory. The perception of theoretical scholars in East Asia, from both the West and the East, is at best ambivalent, if not antagonistic. In opposition to this perception, this paper will illuminate the positive aspects of theory in and about East Asia. To this end, I propose the following guiding question about the relation between theory and East: what does “doing” theory mean when it comes to East Asia? Since the term “East Asia” risks being quickly associated or conflated with the colonialist conception of the Orient or the Other – namely, a mythic territory – a more helpful question might be: what does using theory mean for both scholars of East Asia and scholars in East Asia?