原民書寫中的殖民意識與現代性―以田雅各、夏曼•藍波安為例

本文寫作期間，正值台灣及中國兩方面的學界，針對「台灣文學史」的論述方式，有著諸多意識型態上的矛盾與磨擦。為了解此間問題根源，有必要從歷史及現實等方面，進行兩方的論述考察與批判。本文首先追究「台灣文學」此一觀念的發生，再說明台灣與中國在「台灣文學史」的寫作實踐上的歷史情境，及釐清隱藏於情境背後的意識型態限制。最後再針對重要的文學史作家進行批判、檢驗並從中思考他們所未辨析的文學史難題。「台灣文學」一名之提出，源自於日本時期的文學和文化思考。將思考落實成文字，則起自1943年的黃得時。歷經戰爭及戒嚴的偏廢和禁錮，「台灣文學」暫被歸類於中國文學之一個支流，並不受重視。及至1970年代，台灣意識甦醒，再有陳少廷等人開始還原「台灣文學史」在日本時期的歷史面貌，並經1980年代的葉石濤等人之努力，終於建立了一脈無需依附中國文學體系與價值的「台灣文學史」。中國的台灣文學史書寫，則起於1980年代的的統戰政策，造成數十本「台灣文學史」皆具有論述上的盲點。特別值得注意的是2000年後由陳映真及呂正惠等台籍作家和學者，他們儼然成為現下中國在建立台灣文學史論述時的新血。兩人皆視野廣泛，論述有據，卻仍甘於將台灣文學史的書寫，視為中國對台政治行動的一部份。不過他們對於文學史書寫的思考，雖有意識型態上的重大疑慮，但仍有值得延申再議的空間。

This paper focuses on the concept and genealogy of the prose in Japanese-occupied Taiwan. In the past, “Prose in Japanese-occupied Taiwan” as a research topic always had been ignored. To build up the research basis of this topic, I try to clarify the concept and genre of prose at that time. Furthermore, this paper tries to re-examine the tradition of poetic prose after War WorldⅡto reconstruct the Genealogy of prose in Taiwan Literature. This paper is divided into six sections. The motivation, purpose, significance, areas, material, and methodology of research are included in the introduction. In Chapter 2, by examining the concepts of prose research, I try to find out the pluralistic context of the prose in Japanese-occupied Taiwan. The concept of the prose in Japanese-occupied Taiwan was influenced by the Taiwan classical literature, May 4th literature, and modern Japanese literature. Chapter 3 processes the mode issue by generalizing the previous research, the name of columns of magazines and the titles of prose works in Japanese-occupied Taiwan. We can find out more than twenty modes of prose at that time. In other words, we can find out more than twenty ways about how prose was recognized at that time. Chapter 4 and 5 are text analysis. Chapter 4 tries to examine the prose works by the Japanese authors who lived in Japanese-occupied Taiwan and then conducts the case study. A very important author called Sigeru Aoki (1893-1985) composed a lot of prose works and had high writing consciousness of prose. The prose of Sigeru Aoki is nature writing; it is as important as Tadao Kano’s works. Chapter 5 focuses on the tradition of non-poetic prose in Japanese-occupied Taiwan, especially the Jou Ding Shan’s prose works and the prose works published in the “TAIWAN MINPAO”. These prose works were very critical and aggressive; it cared about the community too. These works are very different from the tradition of poetic prose which is soft and focuses on the author’s inner world only. Because most authors of poetic prose after War WorldⅡ were women, this chapter also compares the Female prose in the Japanese-occupied Taiwan and that after War WorldⅡ. In conclusion, more attention and passion should be contributed to the prose study, especially the prose during the Japanese occupation. And I will devote my time and my whole heart in this field.

Alicia Bewicke Little (1845-1926) was one of the earliest English writers who traveled deep into the interior of China during the late imperial period. She was also the most active feminist campaigning for the abolition of the old Chinese custom of footbinding. Her travelogue In the Land of the Blue Gown (1901) meticulously records such events as her sojourn in rural Sichuan, the anti-foreign riots in West China, and her anti-footbinding tours around China, offering us precious first-hand accounts of the early encounter between East and West. The ethics of travel is a promising new topic in travel literature studies, as yet little discussed in Taiwan. The present paper tries to find concrete examples from Little's book for an engaging discussion of cross-cultural negotiations, focusing particularly on moments of unease when cultural alterity is intensely felt and exploring its ethical implications. In recent years, owing to the influence of postcolonial theory, Anglo-American travel writing scholarship has tended to adopt a more rigid approach to ethical issues, often sacrificing the more nuanced understanding of moral complexities and ambiguities for pointed ideological critiques. This paper seeks to redress the balance by attending to the more confusing and aporetic kinds of travel experience. The major themes to be discussed include the civilizing mission, social sympathy, self-preservation, tolerance, and the importance of intercultural communication.

This paper attempts to rebut the prevailing favorable view of Japanese colonial rule in Taiwan by analyzing the formative principles and the structure of the modernizing elements in the assimilationist Japanese educational policy in Taiwan. In particular, the paper attends to the system by which the Japanese implemented equality of educational opportunity and the large amount of material on Western civilization incorporated into the teaching curriculum. The main themes of the paper are the following. Taiwan's assimilationist ”douka” policy came into being under the leadership of Isawashuji, creator of the Japanese-language education program in Taiwan. Its main content emphasized civilization, and the major medium for promulgating this content was Japanese-language education. The program employed ”kokutai” as its main educational instrument and as the pivot of political rule, filling a role analogous to that played by Christianity in Western colonial environments, and took ”becoming Japanese” and ”moving toward ishdoujim” as emblems of its assimilationist objectives. These guidelines became the prototype for Taiwan’s assimilationist (”douka”) educational program for half a century. However, the modernizing elements in this educational program also had an instrumental and intensely ideological character. For Isawashuji, he was convinced that only a broad education would enable the Taiwanese to genuinely understand the uniqueness and superiority of the Japanese state (”kokutai”). Isawashuji was determined to use ”kokutai” in ruling Taiwan mainly because the Japanese empire lacked a colonial educational instrument comparable to that provided by the teachings of Christianity. Hence he attempted to use ”kokutai” in place of religion in educating the Taiwanese. Under Isawashuji's rule, the Taiwanese were perhaps given the opportunity to establish a basis for modernization, as well as a basic direction for their later national identification as Taiwanese. However, these modernizing results were obtained mainly as by-products of a plan aimed at maintaining the equilibrium of the Japanese empire. They were not the results of an attitude of benevolence toward the people on Isawashuji's part, nor of a direct affirmation of the value of modernization.

Any treatment of the history of the book in South Asia undertaken in the early twenty-first century is likely to feel the need to engage with what has come to be known as postcolonial discourse. It thus behoves us to enquire at the outset just how fitting a backdrop to the subject this discourse provides. This is all the more pressing a requirement since, despite being self-consciously and even apologetically informed by the best liberal-guilty will in the world, certain strands in postcolonial discourse continue to betray some of the fondest vanities of the colonial enterprise itself in its confident heyday. One of these abiding pieties is that imperial rule offered the colonies, for example, the book. On the other hand, some of the more radically deconstructive strands of postcolonial discourse appear to institute a kind of ex post facto discursive parity between the colonizer and the colonized, the ruler and the ruled, the centre and the periphery, and indeed between any similar ‘binary’, purportedly because of the inherent ambivalence of all experience, representation and meaning-making. Is this easy assumption of equality, resting as it does on indeterminacy, perhaps more blithe and feckless than politically engaged or sincerely egalitarian?

This paper draws on a number of theories concerning state-building, ideology, and identity construction, as well as evidence from contemporaneous French news reports and editorials and secondary sources, in order to better explicate the significance of French colonialism in the modern North African states of Algeria and Tunisia. Specifically, it seeks to explore how French colonial efforts at consolidating their monopoly on violence within the territories and identity construction later reproduced themselves as potent tools against French colonialism in the twentieth century. The extremely violent and protracted nature of “pacification” of the population that marked the beginning of the French colony in Algeria also marked the regime’s end through the bitter, eight-year-long Algerian War of Independence. As a result of the binary construction of identity in the French colonial state, the “native” population in the newly created Algerian state in 1962 steadfastly held to its conviction to expel all French elements regardless of where they were born. The comparatively mild military contestation for Tunisia at the outset of French colonial rule, as well as the more fluid colonial codification of identities, are reflected as much by the gradualist and constitutionalist approach taken by the supporters of Tunisian independence as they are by the population’s more appreciative response to the postcolonial hybrid Tunisian identity.

In the last decade, the field of postcolonial ecocriticism has offered important insights into how ecological transformations are intertwined with histories, narratives, and the material practices of colonialism and globalization. Contesting ‘Green Imperialism’: Ecology and Rights in South Asian Literature contributes to critical conversations on how the history of imperialism is pivotal to understanding contemporary environmental trajectories in South Asia. It is the first sustained interdisciplinary inquiry that brings together law, literature and postcolonial ecocriticism to gain a multifaceted understanding of the co-constitution of legal, cultural, political and ecological formations in South Asia.Contesting ‘Green Imperialism’ examines the onto-epistemic effects of imperial environmental legislation on environmental cultures in South Asia from the 16th century to the present. It focuses on the establishment and diffusion of legalnorms, particularly, the discourses on human rights, and its impact in shaping ecological thinking and practices in India, Sri Lanka and Pakistan. In particular, it inquires into how Western rights discourses colluded with scientific and philosophical discourses of ‘green imperialism’ —the imperial practices of naming and categorizingnature for imperial purposes of exercising control, creating a “hierarchy of human species…contributing to biologically determinist discourses of race, gender, andnature” (Grove 1998, 23). Tracing the relationship between rights discourse and colonial and postcolonial ecological thinking and practices as a part of ‘discursiveformation of knowledge and power,’ it underscores the significance of hierarchical classifications of man/nature/colonized in Western rights discourse in shapingenvironmental cultures in South Asia. Through a study of South Asian literature, this dissertation demonstrates howpostcolonial legal apparatuses continue to be informed by the ideology of ‘green imperialism,’ converging with the forces of modernity, ‘progress,’ state sovereignty,and neoliberal development in overdetermined ways. It argues that while Western legal texts on human rights can be read as an archive of ‘green imperialism’ and atestimony to the onto-epistemic violence on colonial territories and colonized subjects, literature by South Asian novelists—Amitav Ghosh, Romesh Gunesekara,A. Sivanandan, Chandani Lokuge and Uzma Khan— contests this process in reincorporating nature as a subject of rights and trope for human rights abuses. Inparticular, they challenge the taxonomic thinking of the rights discourse by destabilizing and re-envisioning the distinctions between man and nature in severalimportant ways; the counter discourses they offer participate in the decolonizing process in interrogating Eurocentric ontologies and epistemologies that inform ‘greenimperialism’ in law.

This thesis investigates selected Anglophone literary works about the Kurds. The works are four novels, Oya Baydar’s The Lost Word (2011), Sophie Hardach’s The Registrar’s Manual for Detecting Forced Marriages (2011), Laleh Khadivi’s The Age of Orphans (2009) and The Walking (2013), one novella The Sayings (2003) by W. C. Scheurer, and eight poems in Choman Hardi’s poetry collection Life for Us (2004). It places postcolonial theory in dialogue with literary critical depictions of Kemalist, Persian and Ba’thist nationalisms in modern Turkey, Iran and Iraq. This study, in these texts, explores colonial discourse and praxis by Turkish, Iranian and Iraqi nation-states against the Kurds throughout twentieth century and in early twenty-first century. By means of investigating these works, the thesis argues that these states’ “adaptative modernities”, constituted by Western modernity in the Middle Eastern context, minutely embody Western colonialism. Correspondingly, the Kurds, and their homeland, represent “an Orient within” especially for Turkey and Iran, which construct Turkish and Persian “Western” subjecthood as a process of nation-state formation. In their portrayals of nationalist racialisations, the chosen writers explore how Turkish, Persian and Arabic history, culture and language are mobilised by means of this process. The Kurds are thus rendered colonial subjects within these states’ borders. This thesis interrogates the polarising ideology of nationhood which underpins these nation-states’ modernity and explores how the Kurds are inferiorised. The study examines the ways Kurdish literary characters are oppressed and murdered by means of state sovereignty’s inhumane laws and the ways they are rendered homeless inside and outside these countries. Finally, it explores literary depictions of nationalist patriarchy, which exploits women in general and Kurdish women in particular in the process of nation-making and nationalist struggles.

This thesis investigates the contributions made by Lionart Magazine in promoting Hispanic art for 25 consecutive years, from 1971 to 1996. Lionart Magazine, one of the most authoritative and professional art magazines in Taiwan during its time, was published with the objective of advocating art education, with 307 issues in total. Each of the editors of Lionart Magazine influenced the style of the magazine: translated sketches and articles about art theory in the 70s, special topics and articles sent from abroad in the 80s, and comments and much more international art news in the 90s. Lionart Magazine addressed a variety of art topics, not only about domestic art events but also international art issues, undoubtedly broadening the horizons of Taiwanese readers with regards to art. Among the 33,000 articles and information, 152 articles and 136 pieces of information are related to Hispanic art, in which there are 9 prominent subjects: El Greco with Toledo and his “stretched figures,” Goya’s Los Carpichos, Los Desastres de la Guerra and the “black paintings,” Picasso’s cubism and engravings, Miro’s diversity on using materials and his Catalan spirit, art of the Maya civilization, Incan influences on modern art, the combination of the cultural ideology and international style of Latin America, strong national consciousness in Mexican wall paintings, and feminism in Frida Khalo’s paintings. Lionart Magazine also addressed 4 special subjects: Bih-In Dai’s paintings on handmade paper, Fu-Chuan Chien’s burned paintings, introduction to ARCO Madrid and information of Museums. In addition to these 13 topics, this thesis also evaluates the contributions of Lionart Magazine based on Dr. Jui-teng Li’s 3 concepts of “Literature and Art Magazine Science”: building theories, making comments and recording history and also based on the 3 features of magazines: functions of education, values of academic studies and supplies of on-time information. I wish to share this investigation to those who have been attracted to Hispanic art and to inspire those who know little about Hispanic art to learn about it as well.

Imperialism loomed over the entire East Asia in the first half of the 20th century, with Japan being the major colonial empire in Asia Pacific. Soaking up all networks of its colonies, Imperial Japan established its predominant status and imposed stringent regulations on interflow among its colonies in the region, with Taiwan and Korea being no exception. In other words, strict colonial rule of the Japanese had severed mutual interaction and free flow of population between Taiwan and Korea. The seemingly active interchange of people within the Japanese empire was mainly ”the flow of administrators under colonial bureaucracy”. There was no direct transportation route between Taiwan and Korea. Apart from the few openings for overseas studies or industrial colonization offered by the imperial empire, there was no interflow of people among the colonies. Hence, one could hardly find Taiwanese in Colonial Korea or Koreans in Colonial Taiwan; and this situation persisted till the end of Japanese colonial rule.Nevertheless, beginning from the 1930s, a small number of Taiwanese were found pursuing medical studies at the Keijo Medical College, Heijo Medical College, Daikyu Medical College and Keijo Imperial University in Colonial Korea. Though these Taiwanese medical students were few, never more than a hundred, they were indeed rare and exceptional cases in the medical education system under the Japanese Colonial Government of Korea. These Taiwanese medical students were also the only group who had first-hand experience of life in Colonial Korea in that era.This research aims to explore why and how these Taiwanese chose to pursue medical studies in Colonial Korea. Depicting their life and experience in this foreign land also shed light on the encounter of Taiwanese in another East Asian colony during that time. In addition, by examining how these Taiwanese medical students got involved with Korea in the postwar era, we can catch a glimpse of how imperialism and colonialism penetrated and assumed control over and beyond the colonial era.

The subject of this edition is a forgotten 17th-century Polonicum: a Latin panegyric in hexameter by Antonio Querenghi entitled Ad urbem Romam in adventu Serenissimi Vladislai, Poloniae Principis (To the city of Rome on the occasion of the arrival of His Most Serene Highness Vladislaus, the Prince of Poland). The work, published in 1625 in Rome, was noted in bibliographies of S. Ciampi and K. Estreicher as anonymous. This is because the only copy known of the first edition until recently, preserved in the holdings of Biblioteca Ambrosiana in Milan, was deprived of the title page. The discovery of a second, complete copy in the collection of Biblioteca Casanatense in Rome allowed us to identify the author, namely the Padovan humanist Antonio Querenghi (1546-1633), who from 1605 served as the pope’s personal secretary (cubicularius), prelate and referendary of both signatures. The closest relation Querengi developed with Maffeo Barberini (Urban VIII), the “pope-Cicero” and patron of poets and artists, at whose side he stayed until his own death. On 19 January 1625 he graced with his panegyric the Roman visit of Prince Vladislaus Vasa, the later King of Poland and Grand Duke of Lithuania Vladislaus IV. The prince arrived in Rome on 20 December 1624, after an eight-month journey around Europe. Vladislaus, who tried to travel incognito, was received with all the honour due to the successor to the Swedish throne with the title of electi Magni Ducis Moschoviae (the elected Grand Duke of Muscovy). In the minds of the inhabitants of Europe, his person was also inextricably associated with the double triumph over the “schismatic” Muscovy, and above all with fending off Turks at the battle of Chocim (2 September–9 October 1621). Vladislaus spent the fortnight from 20 December 1624 to 2 January 1625 in the papal capital and took part in the celebration of the Jubilee. On 17 January he arrived there again after a short trip to Naples and left the city after only three days. Yet it was the latter short stay in Rome that the grandest reception in honour of the Polish Prince was held. On Sunday, 19 January, after a private audience with Pope Urban, at which only the closest curial dignitaries (with Querenghi probably among them) and officials from Vladislaus’ retinue were present, a sumptuous dinner was given with a concert afterwards. In the panegyric written for this occasion, Querenghi praises Vladislaus’ triumphs over “Muscovy twice defeated” (he meant armed attempts of the prince to the tsarist throne in the years 1610-1619) and over “the Thracian (i.e. Turkish) enemy”, the army of sultan Osman II. The ideological pivot of the poem is the pope’s planned general military expedition against Turkey: Urban VIII anoints the Polish Prince as the commander in chief of the upcoming crusade and a defender of Christianity. Vladislaus appears to be a new Hercules choosing the difficult path of Virtue, filled with renunciations and leading to eternal fame. In the panegyric apostrophe, the poet appeals to the Christian prince to follow the example of the mythical hero by taming the “godless monsters” (monstra impia) and taking upon his shoulders the weight of the world resting theretofore on the shoulders of the Italian Atlas – Pope Urban. Ad urbem Romam constitutes an excellent example of Querenghi’s stylistic manner shaped in the neo-Platonist spirit of hermetism, which made the poet create labyrinthine and enigmatic texts for the exclusive use of a narrow circle of exegetes. This manner resulted in a discrepancy, starkly visible through the refined hexameters, between two irreconcilable textual (and thus essentially linguistic) facts, one arising from historic discourse and the other generated within conventionally antiquisating, petrified, panegyric hyperbole. Namely, between Vladislaus who, abashed, retreated from Muscow and spent the battle of Chocim sick in his own tent, and the new Hercules who puts to rout the schismatic-pagan monsters threatening the Western civilisation.

The public housing policy in Taiwan can be traced back to the Japanese Colonial Period (1895-1945). Since then, the space form of housing has been changing significantly, through Japanese Colonial Period, the end of World War II, and United States Aid until the 1960s. Reviewing the history of Taiwan's design and construction of public (national) housing, it is always connected with dominant powers which were from external. The new cultural imagine of resident was created by mixing the translation by Japanese colonialists, the introduction by technical adviser of USAID and the United Nations, and the cognition and re-interpretation by migrated technical officers from China and local architectural professions. Therefore, the practical process of modern residence in Taiwan was full of diversity and divergence. This study proposes to use new historical science, textual analysis and discourse analysis as reference methods to review the historical experience of the development of public (national) housing in Taiwan from 1910 to 2000. In doing so, this study aspires to present how a country with different regime types capitalizes on the mechanism of the operation of power such as national housing policies, monitoring and control to make decisions for, separate, renovate, and govern space. By referring to technical officers, professionals, and outsourcing consultants’ modernist housing design discourses, this study delves into the process of how a modern living knowledge system in pursuit of progress and efficiency is constructed and gradually becoming a society's collective consciousness, practice, and imagination in everyday life.

At the late 60´s, a series of academic publications have been written in order to try to re-think education through an ideological, philosophical and pedagogical addressed. These critical authors asked about the role and the responsibility of education in the political action of a particular society. So, in this way of thinking, , would have to do with , , and, . We are referring here to Adorno (Education after Auschwitz); Freire (Pedagogy of the oppressed); Bourdieu (The Reproduction); and Althusser (Ideological State apparatus). All these works have been published between 1968 and 1969 and have become as major works for the educational thought. In this paper we would like to reflect about some particular issues related to education, teachers, society and students that have been taken place in the recent years in our recent history. Issues linked with some expressions and actions of made by students –and teachers- at school and leisure institutions. So, we are interested in trying to ask if these episodes would also express something regarding with a social and political fragmented space, at school, from the great crisis in Argentina, in 2001. We are interested in try to integrate them into a critical argument in order to try, as Adorno says, to contribute to a general enlightenment that provides an intellectual, cultural and social climate in which a recurrence of these kind of episodes, would no longer be possible.

This article describes the life of Ye Jung-chong as an anti-Japanese intellectual in the post-colonial era. Before World War II, Ye Jung-chong was a right-wing intellectual of the anti-Japanese movement. Such had been his image in modern Taiwan. After the war, he published a series of works in the 1960s when Taiwan was still under martial law, thereby passing down his experiences and memories of the anti-Japanese movement in the 1920s to the younger generation. This article attempts to explore the historical background and his life experiences that changed Ye Jung-chong from an anti-Japanese intellectual into a writer of historical experiences. Although not belonging to the postwar generation, Ye Jung-chong attracted much the attention of the postwar generation both domestic and overseas because of his book, ＂History of the Taiwanese National Movement＂, and because he was part of the ＂back-to-reality＂ trend of thought of the 1970s. Although he was invited to write History of the Taiwanese National Movement as a refutation of Yang Chao-chia's memoirs, it did reveal his strong ＂determination to write history.＂ In the aftermath of World War II, his role as a ＂writer＂ overlapped with his engagement to ＂write history.＂ Ye Jung-chong's zeal to write history stemmed from his demand for equal recognition of the Taiwanese history and culture. His spirit of recording history had set a precedent for the postwar generation, including Kang Ning-hsiang, Huang Huang-hsiung and others. Moreover, every time a predecessor of the anti-Japanese movement died, Ye Jung-chong published essays of commemoration and passed down memories of the forerunners. The 'tangwai' magazines inherited his literary style, which was also a part of his legacy prior to the study of Taiwanese history in the later half of the 1980s. Analyzing the writing activities of Ye Jung-chong in his late years can shed light on the post-colonial cultural movement and the process through which historical experiences of Taiwanese under Japanese colonial rule were discoursed, which makes it a part of social memory under the KMT's dominant, one-party regime in the postwar era.

Voice has a long history in modern Western culture as a transparent signifier of subjectivity and presence. This ideology of immediacy has meant that exploration of singing voices as mediated has mostly been confined to classic technological turns marked by specific sound devices. This article examines voice in connection with the mid-nineteenth-century soprano Jenny Lind and the broader London context of contemporary Lind mania. Mediation lends itself to canvassing questions at the crossroads of voice and celebrity studies, for the invocation of a linear, unmediated communication between particular individuals and their audiences lies at the heart of modern celebrity culture's apparatus. The tension between voice and technē , presence and absence, evinced by printed and visual materials suggests mediation was key to the perceptual and ideological system surrounding Lind's voice. Attending to voice within a more porous, relational framework can help us move away from a concern with individuality and authenticity, and listen to a rich tapestry of human and material encounters.