Talks by Ta-wei Chi
文訊, 2024
As of summer 2024, the queer science fiction from Taiwan, The Membranes, is already available in ... more As of summer 2024, the queer science fiction from Taiwan, The Membranes, is already available in 8 translations. This essay discusses and emphasizes the crucial roles that the translators from various countries/cultures play to enable these translations to be possible.
截止2024年夏天,《膜》已經有八種語言的譯本。為了強調翻譯家有多重要,我在此刻意寫清楚每種譯本的每位翻譯家全名:日本版(白水紀子譯,2008)、法文版(關首奇Gwennaël Gaffric譯,2015)、英文版(韓瑞Ari Heinrich譯,2021)、韓文版(文晞禎譯,2021)、義大利文版(Alessandra Pezza譯,2022)、丹麥文版(Astrid Møller-Olsen譯,2023)、芬蘭文版(Rauno Sainio譯,2024),以及西班牙文版(Alberto Poza Poyatos譯,2024)。// 除此之外,希臘、葡萄牙、越南這三國的出版社也購買了《膜》的翻譯版權。
《膜》可以跟國際接軌,功勞主要在於各國翻譯者,而不在於作者。本文就針對這個論點進行說明。
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Actualitte, 2023
Hocine Bouhadjera at actualitte.com (in Paris) interviewed Ta-wei Chi for his queer science fict... more Hocine Bouhadjera at actualitte.com (in Paris) interviewed Ta-wei Chi for his queer science fiction (in French translation) and its Taiwanese context. The interview is in French. 法國藝文媒體專訪紀大偉(談酷兒科幻小說)(內文為法文)
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Paris Review , 2021
Chris Littlewood interviewed Ta-wei Chi for Paris Review in 2021. 《巴黎評論》專訪 紀大偉 談 台灣 酷兒 科幻 小說
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〈臍〉這篇小說原本收錄於短篇小說集《戀物癖》(AK0027) (叢書系列:新人間叢書),作者:紀大偉,出版社:時報文化, 出版日期:1998年10月27日 ,定價:200 元,開本:25開/平裝... more 〈臍〉這篇小說原本收錄於短篇小說集《戀物癖》(AK0027) (叢書系列:新人間叢書),作者:紀大偉,出版社:時報文化, 出版日期:1998年10月27日 ,定價:200 元,開本:25開/平裝/272頁 ,ISBN:957132731X。
-
新版收錄於中短篇小說集《膜》,作者:紀大偉,出版社:聯經,2011年。
電子書(ebook)可以在這裡購得(在全球各國都可以購得):
https://readmoo.com/book/210002645000101
-
英文翻譯者為 Susan Wilf
發表於香港刊物《Renditions》
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how to translate the word "sexuality" in Taiwan
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Introduction by Ta-wei Chi
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Papers by Ta-wei Chi
台灣文學學報, 2023
本文爬梳袁瓊瓊(1950-)文學生涯的前五本小說集,《春水船》(1979)、《自己的天空》(1981)、《兩個人的事》(1983)、《滄桑》(1985),和《又涼又暖的季節》(1986),指認這... more 本文爬梳袁瓊瓊(1950-)文學生涯的前五本小說集,《春水船》(1979)、《自己的天空》(1981)、《兩個人的事》(1983)、《滄桑》(1985),和《又涼又暖的季節》(1986),指認這些小說集收錄的多篇文本早在戒嚴時期,就刻畫了身心障礙。雖然袁瓊瓊早就享譽文壇,但是她在身心障礙領域的建樹卻遲遲沒有受到足夠重視。因此,本文特別關注她刻畫身心障礙的貢獻。對越來越重視身心障礙的今日讀者來說,這批長期被低估文本提供管窺舊時代(按,戒嚴時期)身心障礙形象的可貴窗口。但有鑑於「身心障礙」這個詞彙的侷限,筆者提議用「家醜身體」一詞來補充「身心障礙」:袁瓊瓊早期作品中,身心障礙經常成為足以導致家醜外揚的麻煩,體現了家醜身體。這批小說中,情節高潮可能出自於身心障礙當事人,卻更可能出自於粗暴動手處置家醜的家屬。藉著指認家醜身體在多種小說的不同部署,筆者希望在小說文本裡頭,找出更多討論身心障礙的路徑:本文主張,「身心健全主義」的陰影,不但籠罩在身心障礙當事人身上,也足以讓當事人的家族成員不見天日。也因此,讀者在小說字裏行間尋找身心障礙形影的時候,除了可以留意身心障礙角色,也不妨關注身心障礙的家人有何蹊蹺。 This article identifies the disabilities shown in the texts of the first five story collections of Yuan Qiongqiong (1950–), all of which were published during the Martial Law Period. Inspired by the insights of emerging disability studies, the article urges the reader to recognize Yuan’s contributions, habitually underestimated, to literal representations of disabilities. From these, the reader might scavenge images of disabilities visualized even prior to the promulgations of laws to secure the rights and dignities that people with disabilities deserve. As the term “disabilities,” which connotates the awareness of disability rights, is both anachronistic and indispensable in discussions of Yuan’s stories published in the 1970s and 1980s, the article strategically proposes “the bodies of familial shame,” a notion to supplement rather than replace “disabilities.” In the stories by Yuan discussed in the article, the plots often startle the reader not with the characters’ physical or mental conditions but with reactions to the shame resulting from the ableist ideology among the disabled characters’ families. For example, to protect themselves from the supposedly contagious shame associated with their disabled family members, seemingly able-bodied and able-minded characters might resort to verbal or physical abuse of their already suffering parents, spouses, siblings, or children. Therefore, even when family members are not apparently disabled, they are never free from ableism. Rather, they can simultaneously be both victims of and collaborators in this ableist ideology and are thus worthy of attention in literary disability studies.
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Bloomsbury, 2024
This chapter in the Bloomsbury Handbook introduces and discusses the sample titles of translated ... more This chapter in the Bloomsbury Handbook introduces and discusses the sample titles of translated queer literature from Hong Kong, Taiwan, Malaysia, Singapore, and China. The texts under discussion are translated into Japanese, French, English and other languages.
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Archiv Orientalni, Dec 22, 2022
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中國現代文學42, 2022
標題:
少女投胎——楊双子百合小說的女性主義現象學閱讀+
Being Thrown Like a Girl:
A Feminist Phenomenological Readi... more 標題:
少女投胎——楊双子百合小說的女性主義現象學閱讀+
Being Thrown Like a Girl:
A Feminist Phenomenological Reading of the Yuri Fiction by Yang Shuang-zi -----
作者:紀大偉 -----
單位:國立政治大學台灣文學研究所 -----
-----
(1)中文摘要:
作家楊双子(1984-)的《花開時節》、《花開少女華麗島》、《綺譚花物語》、《台灣漫遊錄》等等「百合小說」,結合日治時期背景以及女女情慾腳本,在2010年代末期開始陸續獲得各方讚賞。筆者在楊双子多種作品看見活潑多樣的「少女」身體活動,因而聯想起分析女性體育的著名文章:女性主義學者艾利斯揚的論文,〈像女孩那樣丟球〉。艾利斯揚用女性主義觀點修改傳統男性宗師提出的現象學,指認當代西方女孩怎麼斡旋被父權社會阻撓的意向性。本文建議,楊双子作品剛好提供台灣文學跟現象學哲學得以對話的一個出發點。在這個出發點,本文討論兩個問題:藉著對照閱讀楊双子筆下的「少女」的艾利斯揚所稱的「女孩」,讀者可以怎麼同時深化對於兩種女性的理解?另,楊双子小說多次感嘆少女的「投胎」(即,不同少女各自降生到不同種族、不同階級家庭的境遇),是否可以為現象學關鍵詞「拋擲」(thrownness)提供立足於台灣本土的詮釋?
(2)英文摘要:
Yang Shuang-zi is known for her novels and short stories, most of which belong to the “yuri” genre. Hailing from the Japanese popular culture, the yuri genre features girls’ romantic or even sexual infatuation with other girls. Yang’s fiction is remarkable, not only because it brings the passion among girls to the foreground, but also because it almost insists on assigning the girl characters the Japanese colonial period (the first half of the twentieth century) as the historical background. As writers in Taiwan, as well as in other countries, of literature on women’s love for other women commonly situate their characters in the historic periods which the writers themselves have experienced, it is noteworthy that Yang, born in 1984, four decades after the end of the Japanese colonial rule in Taiwan, would be so devoted to re-creating the colonial past. While the existing scholarship on Yang already pays attention to Yang’s devotion in question, I turn to the feminist version of phenomenology instead. When I notice the depictions of various bodily activities of the girl characters in Yang’s fiction, Iris Marion Young’s article, “Throwing Like a Girl,” which is known for its discussion of girls in sports occurs to me. In her famous article, Young revises the tradition of the phenomenologist philosophy with the feminist perspectives, and recognizes that the girls in contemporary Western societies try hard to find a way out to extend their intentionality, which is generally compromised by the patriarchal system. Inspired by Young, I propose that Yang’s fiction happens to offer one potential starting point for those who study Taiwanese literature and those who work in the phenomenological philosophy to engage each other. This article asks two questions. First, when one juxtaposes the girls depicted by Yang and those girls analyzed by Young, could she complicate her readings of the two groups of girls with the juxtaposition in question? Second, as Yang’s fiction clearly laments some girls’ fates of being born into, or thrown into, ethnically or financially underprivileged families, can the reader provide some interpretations based on Taiwanese experiences of “thrownness,” a keyword in phenomenology?
(3)中文關鍵詞:
(a)楊双子(b)現象學(c)日治時期(d)女同性戀(e)百合
(4)英文關鍵詞:
English keywords(a) Yang Shuang-zi(b)phenomenology(c)the Japanese colonial period(d)lesbianism(e)yuri (genre)
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Although the internationally award-winning Ching-wen Cheng is one of the most established writers... more Although the internationally award-winning Ching-wen Cheng is one of the most established writers alive in Taiwan, his contributions have not been sufficiently discussed. Cheng has been seldom recognized as a contributor to the modernist literature in Taiwan. Also, his representations of the disabled, arguably some of the earliest samples in Taiwan literature, have attracted little academic attention. The article argues that the traces of modernism and representations of disabilities in Cheng's short stories are yoked with each other from time to time throughout Cheng's career. Cheng's works could be expected not only to provide a previously ignored repertoire for discussions of local modernism but also to serve as basic materials for the developing discipline of disabilities studies in Taiwan. However, it should be clarified that the article prefers the term ”stigmatized body,” a usage inspired by Goffman's Stigma, to ”disability,” the standardized usage in the Amer...
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International audienc
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Berghahn Journals, Dec 1, 2020
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臺灣文學研究集刊, 2022
「酷兒華語語系未來主義」這個新興概念提供「華語語系」研究介入「酷兒未來」議題的機會。本文則藉著分析電影《大佛普拉斯》,試圖鼓勵臺灣研究介入這種未來主義的論述舞臺。片中庶民角色宛如本土歷史活化石「... more 「酷兒華語語系未來主義」這個新興概念提供「華語語系」研究介入「酷兒未來」議題的機會。本文則藉著分析電影《大佛普拉斯》,試圖鼓勵臺灣研究介入這種未來主義的論述舞臺。片中庶民角色宛如本土歷史活化石「羅漢腳」,同時體現三種落差:中產異性戀男人與羅漢腳的情欲落差、國語使用者與臺語使用者之間的語言落差、手機使用者與科技邊緣人之間的數位落差。這些落差,未必意味這部片無法達到未來主義的預設標準,反而揭發所謂標準的侷限。這部片值得納入酷兒研究,並不是因為它是「酷兒電影」或「同志電影」,也不是因為羅漢腳等於同性戀者,而是因為它暴露出酷兒研究比較少關注的生命樣態:傾向社群(公)而不傾向個人主義(私)的羅漢腳。
In response to the progressive transformations of queer theory in the US, the present study brings up the discourse of queer sinofuturisms, which is more geopolitically relevant to Taiwanese studies than other emerging queer discourses, and attempts to flesh it out by discussing the acclaimed Taiwanese film, The Great Buddha+. The study suggests that the deprived underclass men in the film are neither homosexual nor heterosexual subjects, but subjects similar to the “lô-hàn-kha-á”’ figures, in Taiwanese history known for their proletariat male-bonding as well as their lack of access to women. Despite their sexual, lingual, and technical disadvantages being of the “lô-hàn-kha-á” figures, however, they demonstrate the possibilities of embodying not individualism but communitarianism, whose values which have less often attracted attention in queer studies.
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中外文學, 2022
The Bodies of Sadness in the Curative Time: Visual Disabilities in Taiyupian
Abstract
Thi... more The Bodies of Sadness in the Curative Time: Visual Disabilities in Taiyupian
Abstract
This article attempts to connect the field of “Taiyupian” (Taiwanese-language cinema) studies with that of disability studies. On the one hand, it suggests that disability studies can scavenge the histories of the local disabilities in Taiyupian. On the other hand, it urges that scholars in Taiyupian studies to expand their scope with the inspirations from disability studies. By focusing on five samples of Taiyupian from the 1950s and the 1960s, it finds that the blind characters, frustrated by what the article names as “the bodies of sadness,” are so expelled by “the normative time” as defined in disability studies that they turn to embrace “the curative time,” a seductive but restrictive option that valorizes ableism to the detriment of diverse life possibilities and is eventually complicit with predatory capitalism.
Keywords: Taiyupian, disability studies, sadness, Taiwanese film, Helen Keller
悲情身體,治療時間:從台語片贖回視覺障礙歷史
摘要
本文企圖連結台語片研究和身心障礙研究兩個領域,一方面提倡障礙研究者在台語片寶庫挖掘本土障礙者的歷史身影,另一方面建議台灣文史研究者採用障礙研究的洞見來增厚論述空間。本文爬梳《王哥柳哥遊台灣》、《鴉片戰爭》、《台北發的早班車》、《難忘的車站》、《康丁遊台北》這五部1950年代、1960年代的黑白電影,觀察其中視覺障礙角色對於人生未來的想像。本文發現,這些盲人角色受制於筆者提出的「悲情身體」狀態,被「正規時間」框架排斥,轉而擁抱美國障礙研究學者提出的「治療時間」願景。本文指出,歌頌醫療奇蹟的「治療時間」框架雖然誘人,卻難免同時強化「身心健全主義」和資本主義的僵化價值,反而窄化身心障礙者的多元生命可能性。
關鍵詞:台語片,障礙研究,悲情,台灣電影,海倫凱勒
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An attempt to integrate disability studies with Sinophone studies, the article locates the models... more An attempt to integrate disability studies with Sinophone studies, the article locates the models of the blind flaneuse and the sweet innocent in Chinese-language visual cultural texts. These texts are from the first decade of the twenty-first century, as the rise of China and neoliberalism loom ever larger. The type for the sweet innocent is Charles Chaplin's ”City Lights”, in which a blind girl, sweet and innocent, passively awaits help from male benefactors. In opposition to the dependent sweet innocent, who is taught to stay at home to avoid participation in the city, the blind flaneuse, a notion inspired by Walter Benjamin's flaneur and modified by feminist and disability studies scholars, insists on venturing into the urban scene largely on her own. Zhang Yimou's film ”Happy Times” focuses on a blind girl, pitied by a group of able-bodied benefactors who manipulate her trust, who decides to seek independence as a blind flaneuse. In ”The Eye” from Hong Kong, the bli...
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Talks by Ta-wei Chi
截止2024年夏天,《膜》已經有八種語言的譯本。為了強調翻譯家有多重要,我在此刻意寫清楚每種譯本的每位翻譯家全名:日本版(白水紀子譯,2008)、法文版(關首奇Gwennaël Gaffric譯,2015)、英文版(韓瑞Ari Heinrich譯,2021)、韓文版(文晞禎譯,2021)、義大利文版(Alessandra Pezza譯,2022)、丹麥文版(Astrid Møller-Olsen譯,2023)、芬蘭文版(Rauno Sainio譯,2024),以及西班牙文版(Alberto Poza Poyatos譯,2024)。// 除此之外,希臘、葡萄牙、越南這三國的出版社也購買了《膜》的翻譯版權。
《膜》可以跟國際接軌,功勞主要在於各國翻譯者,而不在於作者。本文就針對這個論點進行說明。
-
新版收錄於中短篇小說集《膜》,作者:紀大偉,出版社:聯經,2011年。
電子書(ebook)可以在這裡購得(在全球各國都可以購得):
https://readmoo.com/book/210002645000101
-
英文翻譯者為 Susan Wilf
發表於香港刊物《Renditions》
Introduction by Ta-wei Chi
Papers by Ta-wei Chi
少女投胎——楊双子百合小說的女性主義現象學閱讀+
Being Thrown Like a Girl:
A Feminist Phenomenological Reading of the Yuri Fiction by Yang Shuang-zi -----
作者:紀大偉 -----
單位:國立政治大學台灣文學研究所 -----
-----
(1)中文摘要:
作家楊双子(1984-)的《花開時節》、《花開少女華麗島》、《綺譚花物語》、《台灣漫遊錄》等等「百合小說」,結合日治時期背景以及女女情慾腳本,在2010年代末期開始陸續獲得各方讚賞。筆者在楊双子多種作品看見活潑多樣的「少女」身體活動,因而聯想起分析女性體育的著名文章:女性主義學者艾利斯揚的論文,〈像女孩那樣丟球〉。艾利斯揚用女性主義觀點修改傳統男性宗師提出的現象學,指認當代西方女孩怎麼斡旋被父權社會阻撓的意向性。本文建議,楊双子作品剛好提供台灣文學跟現象學哲學得以對話的一個出發點。在這個出發點,本文討論兩個問題:藉著對照閱讀楊双子筆下的「少女」的艾利斯揚所稱的「女孩」,讀者可以怎麼同時深化對於兩種女性的理解?另,楊双子小說多次感嘆少女的「投胎」(即,不同少女各自降生到不同種族、不同階級家庭的境遇),是否可以為現象學關鍵詞「拋擲」(thrownness)提供立足於台灣本土的詮釋?
(2)英文摘要:
Yang Shuang-zi is known for her novels and short stories, most of which belong to the “yuri” genre. Hailing from the Japanese popular culture, the yuri genre features girls’ romantic or even sexual infatuation with other girls. Yang’s fiction is remarkable, not only because it brings the passion among girls to the foreground, but also because it almost insists on assigning the girl characters the Japanese colonial period (the first half of the twentieth century) as the historical background. As writers in Taiwan, as well as in other countries, of literature on women’s love for other women commonly situate their characters in the historic periods which the writers themselves have experienced, it is noteworthy that Yang, born in 1984, four decades after the end of the Japanese colonial rule in Taiwan, would be so devoted to re-creating the colonial past. While the existing scholarship on Yang already pays attention to Yang’s devotion in question, I turn to the feminist version of phenomenology instead. When I notice the depictions of various bodily activities of the girl characters in Yang’s fiction, Iris Marion Young’s article, “Throwing Like a Girl,” which is known for its discussion of girls in sports occurs to me. In her famous article, Young revises the tradition of the phenomenologist philosophy with the feminist perspectives, and recognizes that the girls in contemporary Western societies try hard to find a way out to extend their intentionality, which is generally compromised by the patriarchal system. Inspired by Young, I propose that Yang’s fiction happens to offer one potential starting point for those who study Taiwanese literature and those who work in the phenomenological philosophy to engage each other. This article asks two questions. First, when one juxtaposes the girls depicted by Yang and those girls analyzed by Young, could she complicate her readings of the two groups of girls with the juxtaposition in question? Second, as Yang’s fiction clearly laments some girls’ fates of being born into, or thrown into, ethnically or financially underprivileged families, can the reader provide some interpretations based on Taiwanese experiences of “thrownness,” a keyword in phenomenology?
(3)中文關鍵詞:
(a)楊双子(b)現象學(c)日治時期(d)女同性戀(e)百合
(4)英文關鍵詞:
English keywords(a) Yang Shuang-zi(b)phenomenology(c)the Japanese colonial period(d)lesbianism(e)yuri (genre)
In response to the progressive transformations of queer theory in the US, the present study brings up the discourse of queer sinofuturisms, which is more geopolitically relevant to Taiwanese studies than other emerging queer discourses, and attempts to flesh it out by discussing the acclaimed Taiwanese film, The Great Buddha+. The study suggests that the deprived underclass men in the film are neither homosexual nor heterosexual subjects, but subjects similar to the “lô-hàn-kha-á”’ figures, in Taiwanese history known for their proletariat male-bonding as well as their lack of access to women. Despite their sexual, lingual, and technical disadvantages being of the “lô-hàn-kha-á” figures, however, they demonstrate the possibilities of embodying not individualism but communitarianism, whose values which have less often attracted attention in queer studies.
Abstract
This article attempts to connect the field of “Taiyupian” (Taiwanese-language cinema) studies with that of disability studies. On the one hand, it suggests that disability studies can scavenge the histories of the local disabilities in Taiyupian. On the other hand, it urges that scholars in Taiyupian studies to expand their scope with the inspirations from disability studies. By focusing on five samples of Taiyupian from the 1950s and the 1960s, it finds that the blind characters, frustrated by what the article names as “the bodies of sadness,” are so expelled by “the normative time” as defined in disability studies that they turn to embrace “the curative time,” a seductive but restrictive option that valorizes ableism to the detriment of diverse life possibilities and is eventually complicit with predatory capitalism.
Keywords: Taiyupian, disability studies, sadness, Taiwanese film, Helen Keller
悲情身體,治療時間:從台語片贖回視覺障礙歷史
摘要
本文企圖連結台語片研究和身心障礙研究兩個領域,一方面提倡障礙研究者在台語片寶庫挖掘本土障礙者的歷史身影,另一方面建議台灣文史研究者採用障礙研究的洞見來增厚論述空間。本文爬梳《王哥柳哥遊台灣》、《鴉片戰爭》、《台北發的早班車》、《難忘的車站》、《康丁遊台北》這五部1950年代、1960年代的黑白電影,觀察其中視覺障礙角色對於人生未來的想像。本文發現,這些盲人角色受制於筆者提出的「悲情身體」狀態,被「正規時間」框架排斥,轉而擁抱美國障礙研究學者提出的「治療時間」願景。本文指出,歌頌醫療奇蹟的「治療時間」框架雖然誘人,卻難免同時強化「身心健全主義」和資本主義的僵化價值,反而窄化身心障礙者的多元生命可能性。
關鍵詞:台語片,障礙研究,悲情,台灣電影,海倫凱勒
截止2024年夏天,《膜》已經有八種語言的譯本。為了強調翻譯家有多重要,我在此刻意寫清楚每種譯本的每位翻譯家全名:日本版(白水紀子譯,2008)、法文版(關首奇Gwennaël Gaffric譯,2015)、英文版(韓瑞Ari Heinrich譯,2021)、韓文版(文晞禎譯,2021)、義大利文版(Alessandra Pezza譯,2022)、丹麥文版(Astrid Møller-Olsen譯,2023)、芬蘭文版(Rauno Sainio譯,2024),以及西班牙文版(Alberto Poza Poyatos譯,2024)。// 除此之外,希臘、葡萄牙、越南這三國的出版社也購買了《膜》的翻譯版權。
《膜》可以跟國際接軌,功勞主要在於各國翻譯者,而不在於作者。本文就針對這個論點進行說明。
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新版收錄於中短篇小說集《膜》,作者:紀大偉,出版社:聯經,2011年。
電子書(ebook)可以在這裡購得(在全球各國都可以購得):
https://readmoo.com/book/210002645000101
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英文翻譯者為 Susan Wilf
發表於香港刊物《Renditions》
少女投胎——楊双子百合小說的女性主義現象學閱讀+
Being Thrown Like a Girl:
A Feminist Phenomenological Reading of the Yuri Fiction by Yang Shuang-zi -----
作者:紀大偉 -----
單位:國立政治大學台灣文學研究所 -----
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(1)中文摘要:
作家楊双子(1984-)的《花開時節》、《花開少女華麗島》、《綺譚花物語》、《台灣漫遊錄》等等「百合小說」,結合日治時期背景以及女女情慾腳本,在2010年代末期開始陸續獲得各方讚賞。筆者在楊双子多種作品看見活潑多樣的「少女」身體活動,因而聯想起分析女性體育的著名文章:女性主義學者艾利斯揚的論文,〈像女孩那樣丟球〉。艾利斯揚用女性主義觀點修改傳統男性宗師提出的現象學,指認當代西方女孩怎麼斡旋被父權社會阻撓的意向性。本文建議,楊双子作品剛好提供台灣文學跟現象學哲學得以對話的一個出發點。在這個出發點,本文討論兩個問題:藉著對照閱讀楊双子筆下的「少女」的艾利斯揚所稱的「女孩」,讀者可以怎麼同時深化對於兩種女性的理解?另,楊双子小說多次感嘆少女的「投胎」(即,不同少女各自降生到不同種族、不同階級家庭的境遇),是否可以為現象學關鍵詞「拋擲」(thrownness)提供立足於台灣本土的詮釋?
(2)英文摘要:
Yang Shuang-zi is known for her novels and short stories, most of which belong to the “yuri” genre. Hailing from the Japanese popular culture, the yuri genre features girls’ romantic or even sexual infatuation with other girls. Yang’s fiction is remarkable, not only because it brings the passion among girls to the foreground, but also because it almost insists on assigning the girl characters the Japanese colonial period (the first half of the twentieth century) as the historical background. As writers in Taiwan, as well as in other countries, of literature on women’s love for other women commonly situate their characters in the historic periods which the writers themselves have experienced, it is noteworthy that Yang, born in 1984, four decades after the end of the Japanese colonial rule in Taiwan, would be so devoted to re-creating the colonial past. While the existing scholarship on Yang already pays attention to Yang’s devotion in question, I turn to the feminist version of phenomenology instead. When I notice the depictions of various bodily activities of the girl characters in Yang’s fiction, Iris Marion Young’s article, “Throwing Like a Girl,” which is known for its discussion of girls in sports occurs to me. In her famous article, Young revises the tradition of the phenomenologist philosophy with the feminist perspectives, and recognizes that the girls in contemporary Western societies try hard to find a way out to extend their intentionality, which is generally compromised by the patriarchal system. Inspired by Young, I propose that Yang’s fiction happens to offer one potential starting point for those who study Taiwanese literature and those who work in the phenomenological philosophy to engage each other. This article asks two questions. First, when one juxtaposes the girls depicted by Yang and those girls analyzed by Young, could she complicate her readings of the two groups of girls with the juxtaposition in question? Second, as Yang’s fiction clearly laments some girls’ fates of being born into, or thrown into, ethnically or financially underprivileged families, can the reader provide some interpretations based on Taiwanese experiences of “thrownness,” a keyword in phenomenology?
(3)中文關鍵詞:
(a)楊双子(b)現象學(c)日治時期(d)女同性戀(e)百合
(4)英文關鍵詞:
English keywords(a) Yang Shuang-zi(b)phenomenology(c)the Japanese colonial period(d)lesbianism(e)yuri (genre)
In response to the progressive transformations of queer theory in the US, the present study brings up the discourse of queer sinofuturisms, which is more geopolitically relevant to Taiwanese studies than other emerging queer discourses, and attempts to flesh it out by discussing the acclaimed Taiwanese film, The Great Buddha+. The study suggests that the deprived underclass men in the film are neither homosexual nor heterosexual subjects, but subjects similar to the “lô-hàn-kha-á”’ figures, in Taiwanese history known for their proletariat male-bonding as well as their lack of access to women. Despite their sexual, lingual, and technical disadvantages being of the “lô-hàn-kha-á” figures, however, they demonstrate the possibilities of embodying not individualism but communitarianism, whose values which have less often attracted attention in queer studies.
Abstract
This article attempts to connect the field of “Taiyupian” (Taiwanese-language cinema) studies with that of disability studies. On the one hand, it suggests that disability studies can scavenge the histories of the local disabilities in Taiyupian. On the other hand, it urges that scholars in Taiyupian studies to expand their scope with the inspirations from disability studies. By focusing on five samples of Taiyupian from the 1950s and the 1960s, it finds that the blind characters, frustrated by what the article names as “the bodies of sadness,” are so expelled by “the normative time” as defined in disability studies that they turn to embrace “the curative time,” a seductive but restrictive option that valorizes ableism to the detriment of diverse life possibilities and is eventually complicit with predatory capitalism.
Keywords: Taiyupian, disability studies, sadness, Taiwanese film, Helen Keller
悲情身體,治療時間:從台語片贖回視覺障礙歷史
摘要
本文企圖連結台語片研究和身心障礙研究兩個領域,一方面提倡障礙研究者在台語片寶庫挖掘本土障礙者的歷史身影,另一方面建議台灣文史研究者採用障礙研究的洞見來增厚論述空間。本文爬梳《王哥柳哥遊台灣》、《鴉片戰爭》、《台北發的早班車》、《難忘的車站》、《康丁遊台北》這五部1950年代、1960年代的黑白電影,觀察其中視覺障礙角色對於人生未來的想像。本文發現,這些盲人角色受制於筆者提出的「悲情身體」狀態,被「正規時間」框架排斥,轉而擁抱美國障礙研究學者提出的「治療時間」願景。本文指出,歌頌醫療奇蹟的「治療時間」框架雖然誘人,卻難免同時強化「身心健全主義」和資本主義的僵化價值,反而窄化身心障礙者的多元生命可能性。
關鍵詞:台語片,障礙研究,悲情,台灣電影,海倫凱勒
Taiwan distinguishes itself in Asia with its vibrant LGBT culture, including its abundant LGBT literature, locally known as “tongzhi literature.” Traceable to the early 1960s, tongzhi literature suddenly became a widely discussed phenomenon by the end of the twentieth century. This article contends that the tongzhi literature boom was enabled by the local reception of such foreign words as AIDS, “tongzhi” and “ku’er,” the latter two being local renditions of “LGBT” and “queer.” While many scholars consider that the tongzhi literature boom has resulted from the 1987 lifting of Martial Law, I emphasize that this boom also resulted from the emergence of AIDS in the early 1980s, which spawned a number of what I call “translation/public.” By “translation/ public,” I refer to the mutual constitution of translation and the Habermasian public: as translation gives birth to publics (such as the conferences in response to AIDS as a novelty), it is also constantly revised in the process of being publicized or localized. Whereas “AIDS,” “tongzhi,” and “ku’er” help give birth to a public sphere where a new wave of tongzhi literature takes place, these three new words are also creatively misread by locals in Taiwan. The assumed superiority of the original to the translation – a subject common in translation studies – also dominates the local uses of AIDS, “tongzhi,” and “ku’er.” One aim of this article is to critically examine the myth that idolizes what and who are respected as seminal. Two beliefs are widely assumed in Taiwan and abroad: that the word “tongzhi” originates from the Hongkongese writer Edward Lam’s queer reading of “comrade” as habitually solemn in modern Chinese politics; that Lam’s “tongzhi” originates from a patriotic slogan created by Sun Yat-sen, the founding father of modern China. A major effect of these beliefs is to consolidate the authority of the reputedly seminal. The meanings of “AIDS,” “tongzhi,” and “ku’er” are decided less by the idolized originators and more by local writers who consistently redefine the words that are resistant to being written in stone.
Key words: translation, AIDS, tongzhi, queer, Edward Lam
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中文摘要
同志文學在二十世紀末台灣蔚然成風。這篇文章主張,這個現象除了可以歸諸於八○年代末期的解嚴,更可以歸諸於八○年代初期愛滋的翻譯與公共。
本文提出「翻譯的公共」,指出翻譯(例如AIDS 的翻譯)與公共(也就是公共場域,例如議論AIDS 的報紙副刊)的互相生成:翻譯提供公共議論的契機(例如,隨著AIDS 出現應運而生的各種座談),但是翻譯被公共化的過程也改寫了翻譯(例如,台灣人採用「愛死」、「愛滋」等譯文,賦予原文並沒有的「愛」、「死」聯想)。「翻譯的公共」在愛滋危機之前的台灣就有跡可循(例如,白先勇編輯的文學刊物就是一種「翻譯同性戀/公共化同性戀」的體現),但是「翻譯的公共」在愛滋出現後才傾巢而出。「愛滋」、「同志」、「酷兒」這三個翻譯詞在台被公共化的過程,也就是外國觀念被本土化的過程:這三個詞激勵了本土文壇,同時也被同志文學的作者與讀者加以正讀、誤讀、歪讀。本文也要挑戰「認祖歸宗」迷思:「挪用同志的做法,始於香港林奕華」、「革命尚未成功、同志仍需努力」——這些流行說法以訛傳訛,鞏固了對於所謂「原創者」的崇拜。
「愛滋」、「同志」、「酷兒」這三個關鍵詞的定義,與其說取決於原創者,不如說取決於日新又新的土俗實踐。
關鍵詞:翻譯、愛滋、同志、酷兒、林奕華
姜學豪的《太監之後:現代中國的科學、醫藥,與「性」的轉變》細數從「清末北京」到「二戰戰後華語語系(Sinophone)社群」(在此是指台灣、新加坡)之間的邊緣化歷史。此書提問:北京的太監遺老,新加坡曾經風行的「人妖」,以及台灣戰後國民黨政權底下被迫接受變性手術的庶民,三者之間有何跨越時間與跨越空間的「華語語系」連結?此書回應這個問題的方式,並不是提供變性人列傳,而是轉而釐清書名副標題強調的「性的轉變」。從全書上下文來看,書名副標題的「性的轉變」並不是指「變性」這回事,而是指「性意義隨著歷史的變遷」:即,gender、sexuality和身體的意義流變。這些流變包括「性別」概念在現代中國的誕生、遭受解剖技術等等醫療科技衝擊之後的「性」見解等等。因此,書名的「太監」一詞未必指「太監」這樣的人,而可能指「太監之風」(eunuchism)這個見證「性轉變」的時代風氣。既然此書致力爬梳幾乎逐年更新的「知識論現代性」(epistemic modernity),「太監之後」這個書名的涵義多元,可能是指「太監的後代」(此書挑戰「太監無後」這個常識),也可能是一個「歇後語」——「在太監之風之後,怎麼樣?」筆者評估,這個歇後語可以解讀為一種主張:「太監之風之後,『sex』概念就在眾聲喧嘩之中興起」。
英文摘要
Howard Chiang’s monograph, After Eunuchs: Science, Medicine, and the Transformation of Sex in Modern China (New York: Columbia University Press, 2018), depicts the marginalized histories of the sexually non-normative persons in Beijing in the late Qing dynasty, and in the Sinophone communities of Singapore and Taiwan after World War II. Although it is tempting to consider this monograph as a chronicle of “transgender” (broadly defined) people, the book is more ambitious than merely a descriptive narrative. Rather, it asks what the Sinophone articulations were among the last eunuchs in imperial Beijing, the once popular “human progenies” in Singapore, and the common citizen under the military regime of the Nationalist Party in post-WWII Taiwan. To respond to this overarching question, Chiang’s book does not offer a chronicle of various notable transgender persons but turns to examine “the transformation of sex,” as indicated in the book’s title. The transformation of sex means less the transformation of sexual organs or gender reassignment than the constant changes of what sex has signified over time. Among the changes discussed extensively in the book are the emergence of what has come to be understood as “gender” in modern China and the impact of medical technologies, such as modern anatomy, on the reconceptualization of sex. Since the book obviously examines less people than knowledge over time, the eunuchs in the book title might refer not to literal persons with gender reassignments but to “eunuchism,” a zeitgeist that witnessed the transformations of sexual knowledge. As the book is attentive to what Chiang calls “epistemic modernity,” the title After Eunuchs might imply a question: “After eunuchism, what happened to epistemologies?” As such, it might be fair to answer this question with the emergence of sex against the background of the epistemic heteroglossia after the wake of eunuchism.
初版*****
元尊文化出版*****;遠流總代理*****
風格館, 風格人文 . S5056*****
圖書*****
1997*****
First published in Taiwan in 1995, The Membranes is a classic of queer speculative fiction in Chinese. Chi Ta-wei weaves dystopian tropes—heirloom animals, radiation-proof combat drones, sinister surveillance technologies—into a sensitive portrait of one young woman’s quest for self-understanding. Predicting everything from fitness tracking to social media saturation, this visionary and sublime novel stands out for its queer and trans themes. The Membranes reveals the diversity and originality of contemporary speculative fiction in Chinese, exploring gender and sexuality, technological domination, and regimes of capital, all while applying an unflinching self-reflexivity to the reader’s own role. Ari Larissa Heinrich’s translation brings Chi’s hybrid punk sensibility to all readers interested in books that test the limits of where speculative fiction can go.
What is "Tongzhi Literature"? Ta-wei Chi offers definitions and historic surveys of LGBT literature in Taiwan.
What happens, this special issue of Screen Bodies asks, if we simultaneously destabilize techno-Orientalist narratives of the future while queering assumptions about the heteronormativity so often inscribed upon that future in mainstream iterations and embodiments? What kinds of fabulous fabulations might emerge?