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Chinese, English | |
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Humanities (Literature, Music, Education, Phonetics, etc.) |
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1024-3131 | |
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Submission Guidelines and/or Editorial Policies: A. We welcome essays of interest to those concerned with the study of literature, history, philosophy, linguistics, musicology and other fields of humanities. Submission will be expected to contain original work and should not have been published or presented in abridged or other form elsewhere. (Qualified master thesis or doctoral dissertations will be deemed as presented and will not be accepted by the Editorial Board) B. We also welcome reviews on books which were published within recent three years and concerned with literature, history, philosophy, linguistics, musicology and other fields of humanities. The review will not normally exceed 6000 words and the book reviewed should be attached to the submission. 2. Only full/part-time teachers in public/private colleges and research members of academic institutions may submit articles to Sun Yat-sen Journal of Humanities. 3. Essays submitted to the Journal should be in typescript and should be sent in duplicate. With each submission please include the Submission Form (see attachment) and the electronic file of the article. 4. Experts or scholars will be invited by the Editorial Board to evaluate anonymously each submission. The author’s name or any possible reference for identifying the author should not appear in the article. Article recommended by the reviewers will be accepted for publication. 5. Authors with essays or book reviews published in the Journal will receive twenty offprints of their articles and two copies of the issue in which their articles appear. 6. Essays must conform to the MLA Style Manual for documentation.
7. Authors are responsible for securing permission to reproduce any illustration in the Journal, and responsible for their own essays, book reviews, or other forms of writing. 8. Submissions will not normally be returned. 9. Authors with essays or book reviews published in the Journal should also grant an exclusive license for our electronic database service. 10. Submissions for the Journal should be mailed to the following address: Editorial Board 11. Contact information: |
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Sun Yat-sen Journal of Humanities
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Founded in April 1993 by the College of Liberal Arts at the National Sun Yat-sen University, Kaohsiung, the Sun Yat-sen Journal of Humanities is now published twice a year. The English-Chinese bilingual journal solicits scholarly papers concerning various topics in the study of human sciences. |
July 2015, Volume 39
關係的比較學
本文提出一個我稱之為「關係的比較」的新比較理論芻議，主張從事關係的比較學，或視比較文學為關係研究。為了建立關係比較學的理論框架，我將先探討珍納．阿布－勒赫(Janet L. Abu-Lughod)、約翰．霍布森(John M. Hobson)和安德烈．岡德．弗蘭克(André Gunder Frank)等學者所闡述的一體化世界史理論，再結合馬提尼克思想家愛德瓦．葛里桑(Édouard Glissant)所提出的關係理論(theory of Relation)，連結地理文化史、社會經濟史、文學與詩學。論文以「墾殖園弧線」為聚焦點，沿著加勒比海地區延伸至美國南部以及東南亞，再折返加勒比海，分別分析福克納的南方小說、張貴興《猴杯》的婆羅洲熱帶雨林故事、及翠西亞．鮑威爾(Patricia Powell) 筆下黑人，進口苦力的白種商人、華人苦力與小店主聚居的牙買加。本文要旨有二：首先，我要說明以敏銳的世界史觀進行關係研究，如何要求世界文學需盡可能更嚴肅看待其「在世性」；其次，我要證明關係的比較學如何為比較文學打造新舞臺，甚至開啟新的生命。
由阿甘本折返德勒茲：無形式生命與「流變－ 分子革命」
阿甘本提出生命形式的概念作為生命政治的解答，然而事實上，他在理論平面深陷的困境距離一九七六年傅柯在《性特質史》卷一最後所面臨的僵局並沒有想像中的遠。 相對於此，德勒茲與瓜達希透過流變概念提出無形式與非組織的「一個生命」(une vie)，在「分子層級」解放生命的特異性。
生命等同流變，但流變並不是成為某物，不是不同形式的轉換或取代，而是流變者與所流變之物的相互解疆域化。在德勒茲的問題中，流變不是單純的變化、演化或變動，亦不是日常意義下的運動或流動，而是首先意味著從形式與系統中裂解、逃逸，因為在形式或體制中不存在真正的運動。
由王陽明的「知行合一」論身體自我與意識哲學
自從蘇格拉底開始，歐洲哲學，尤其是近代哲學為一種「精神主義」所籠罩，以致於思想脫離不開圍繞「意識我」為軸心而貶低身體的「意識哲學」這種思考架構。然而，特別是在現象學的引導之下，從尼采開始，當代歐洲思維持續不斷地試圖調整甚或突破近代認知論的遺產，致力將人人皆所有且所是的「身體自我」納入到哲學的省思脈絡。可是，重要的問題卻就在於此，這個身體自我究竟具有何種性質？它具有何種哲學地位？而且哲學能如何、該如何探討此身體自我？針對這樣的當代問題意識，本論文試圖採取一種跨文化哲學的路徑，借助王陽明的「心學」，在彷彿也是隸屬於意識哲學架構的陽明思想中突顯出身體自我以及身體的種種面向對修身工夫固有的重要性，以為將來的身體哲學拓開一個不再屬於認知論的思考脈絡：要從身體自我在倫理學視域中既有的地位和身份為出發點，探索身體如何當作主體通往世界的實踐性管道，以便由此觀點重新來商榷當代思維對身體現象所抱懷的關切。
《女兒》，在降生以前的書寫
駱以軍的《女兒》反覆宣稱這是一個製造女兒的「美少女夢工廠」計畫。所謂計畫，指的是作品製造之前所擬定的方案或程序；換言之，真正的作品尚未開始、有待執行。而聲稱為計畫的作品也暗示著真正作品的既未開始當然也未完成的狀態。然而，《女兒》的出版同時使得它不再僅止於作品計畫，而已是成品。這個「已完成」的狀態顯然矛盾於它一再自我形塑為計畫的宣稱，基於這樣的困惑，「文學如何可能思考尚未降生之物」便成為分析此作品的焦點。本文企圖以下列三個主要方向，作品的內容、操作與指涉，包圍駱以軍所提出的這道文學難題。然而作品內容旨不在為小說理出一條貫通所有龐雜故事的劇情大綱，而在重新思考作品計畫與作品自身之間的相互生長關係；作品操作並非企圖以理論觀點思考此部作品，而是《女兒》作為文學虛構的作品如何可能重新頒訂文學創造的律法；作品的指涉不指向它與作者現實背景間的對照與較真，而指向作品如何作為未來的預先在場使未來可感，由此，文學研究同時是指向對未來的探究。
華語（語系）電影？：以邱金海之《伴我行》思考華語語系邊界
《伴我行》(Be With Me)為新加坡導演邱金海(Eric Khoo)二○○五年的作品，九十三分鐘長的電影中只有不到五分鐘的對白，且對話中主要是主角Theresa用英語與外界溝通，間以些許另兩名角色，老父與擔任社工的兒子，的福建語對話。數得上的華語對白不到三句，甚至比福建話還少。對比於華語及方言對白的稀少，角色之一的警衛書寫的情書與社工翻譯的Theresa的回憶錄皆是以華文寫成，且在電影當中成為重要但無聲的角色。警衛翻查字典寫成的情書即是此角色在電影當中欲完成的任務，而Theresa的回憶錄正是幫助老父走出喪妻之痛的關鍵之物。本文將取道史書美對華語語系的主張來討論這部電影，探究將華語語系文學的概念擴大與引申來解讀文字媒介之外的華語語系文化生產時所面臨的挑戰。在華語語系文學包容多音性與多字性的前提下，《伴我行》做為特殊個案，顯示出雖然華語語系新加坡文學在理論上包容了英文與華文的混雜使用，但一部英語對白多過於華語與方言的電影，是否仍被納入華語語系概念下討論？本文主張仍將本片視作華語語系電影，角色被刻意突顯出無聲的嘴即藉由華語語系提供的平臺與其他地區的華語語系文化生產互文閱讀。
The Thin(g) Difference: Objects and Others in Sir Gawain and the Green Knight
The increasing attention in literary studies to social relations expressed in material forms has brought about critical insight into the various powers of material objects and their relation to the construction or transformation of individual and social identities. In unfolding a world filled with things, Sir Gawain and the Green Knight sheds important light on the myriad human-thing relationships, yet the sophisticated negotiations of cultural difference and East-West intersection in persons and things dramatized in this Middle English masterpiece have not been adequately explored. A closer look into material objects depicted in this romance makes a significant difference in understanding the complex social actions, negotiations and intersubjective relations as well as the intricate entanglements of objects and others. The game of exchange in the poem enacts processes that enhance communal and intercultural bonding not by committing people to fixed material possessions but by linking them as agents or channels of shared cultural property in the midst of material flow. This realization of the thin(g) difference exposes the fault lines of the Arthurian conception and imagination of self and other, as well as the difficulties of their definition and distinction.
創傷．轉譯．詩歌：林永得訪談錄
前言
第三代華裔夏威夷詩人林永得(Wing Tek Lum)自一九九七年讀到張純如的《南京浩劫：被遺忘的大屠殺》(Iris Chang, The Rape of Nanking: The Forgotten Holocaust of World War II)後義憤填膺，開始創作《南京大屠殺詩抄》(The Nanjing Massacre: Poems)，十餘年如一日，全書終於在二○一二年底出版，共收錄一百○四首詩作，並附多則注釋說明出處。詩人多年堅持為此一歷史悲劇的受難者發聲，力求透過詩歌喚回公理與正義的信念與實踐令人敬佩。林永得於二○一三年四月前往西雅圖參加亞美研究學會(the Association for Asian American Studies)與美國華人歷史學會(Chinese Historical Society of America)年會，並於兩會中朗誦此詩集中的代表作。我與他相約在下榻的威斯汀飯店(Westin Hotel)進行訪談，錄音檔由黃碧儀小姐謄打，余淑慧小姐中譯，並由我校訂。本訪談初校期間，於五月十二日接獲詩人林永得的電郵，告知《南京大屠殺詩抄》獲得二○一五年亞美研究學會書獎（創作類：詩歌）(2015 AAAS Book Awards〔Creative Writing: Poetry〕)，並謙稱「人們似乎對這些詩還有一些興趣。」他的詩藝受到肯定以及個性之低調由此可見。詩人甚至沒拍攝自己在頒獎典禮上的照片，因為他一向認為重要的是詩作本身，「應該讓詩自己來說話」。
Perfect Worlds: Utopian Fiction in China and the West by Douwe Fokkema
WHEN I first held this book, it gave me both a surprise and a shock. The shock was that I learned that the author, Douwe Fokkema, had died in 2011, just after finishing this book on Utopia. His visit to the Foreign Language Department of National Sun Yat-sen University, some 12 or 13 years ago, was the last contact I had had with him. Much earlier I had known him as a teacher and, many years after that, as my departmental chairman at the University of Utrecht. The surprise was that a scholar I had known as a proponent of empirical Literaturwissenschaft had written a book about a topic that seems so far removed from possibilities of empirical testing and from his earlier scholarly concerns -- and so unexpectedly close to my own.
書評--在自己的時差裏：讀駱以軍《女兒》
有一天早晨，他從一個悲傷的夢醒來。
身為同代人中最具野心的小說作者（最有大師企圖者），駱以軍的小說閱讀（現當代，中西）應該也是同輩中最為齊備的，可說對小說最為瞭解。他的小說產能，也早已超過前一個世代的寫作者。有時我會挖苦這位溫厚的老友，說他的著作量幾乎已超越我們這一行的幾個不同類型的高峯，我們年輕時的偶像，譬如馬奎斯，昆德拉，奈波爾，大陸近年分別譯出他們相當齊全的作品集。這幾個傢伙寫了一輩子，小說也就十幾本，也不是每一本都出色。但他們晚年作品文體都簡潔明淨，篇幅都不大，好像在重新回頭凝視那最根本最原初的事物。
幾年前《西夏旅館》的驚人體積（雖然很快就被顏忠賢的怪胎《寶島大旅社》超過）可能是對董啟章體操式的小說長度的一個體育式的回應。這些並非傳統意義上的長篇，一部比一部厚，在出版並不景氣的年代，顯得像是健美先生的肌肉比賽，或生物演化中軍備競賽。那不只表現在篇幅上，也表現在資源的調度上。《女兒》中的量子力學，很可能是這系列小說軍備演化的一環。
Other Issues
January 2016, Volume 40
, Volume 38
Genetic Criticism
, Volume 37
Sinophone Studies, 35
Chinese and Western Literature and Arts in the Eighteenth Century, 34
Early Modern Music and Literature
, Issue 21
DISCIPLINE in Literature and Literary Studies
, Issue 20