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對《戀愛中的女人》原始主義之再思
(2011) 王莉菁; Wang, Li-Jing
本論文主張，在「原始主義」的外表下，也就是西方與非西方之二元理論基礎，勞倫斯在《戀愛中的女人》，運用此種比喻以及其他相關的二元對立觀念，於實質上強調了均衡的議題（精神、心理、身體、文化等層面）。第一章廣泛地討論了二十世紀的藝術中，對原始意象的再現；並歸納出對於原始他者的再現方式有二：其一是延續了對原始他者所產生的兩種極端投射，其二則藉由此他者提供了混雜性，為抵抗文化階級帶來更多的可能。我從這些不同的再現意義出發，深入探討《戀愛中的女人》何以被解讀成是一部帶有原始主義意識型態的小說（第二章與第三章），以及為何必須正面看待這小說的「原始主義」（第四章）。第二章聚焦在女性的「文化形象」，呈現女性角色與非洲意象的象徵性連結。第三章分析男性角色的文化形象，以及男性角色與小說中所稱的「北方原則」，也就是陽剛的西方意象，之間的象徵性連結。第四章交叉地解讀這些角色的文化形象，同時試圖闡明角色與意象間複雜的交錯相關性（比如：女性角色與北方原則的共通性，以及男性角色與非洲意象的相似處）。我認為這些隱含在小說中的交錯性面向，一方面顛覆了一般認為原始主義只會傳遞性別層面的意識型態之看法；另一方面也推翻了北方與非洲意象的對立衝突性。最後我希望透過此論文呈現出，《戀愛中的女人》在某種程度上是二分法的結構，但這正是勞倫斯藉以提倡「平衡的」生活觀與世界觀之途徑。
The Remains of History: Gao Xingjian’s Soul Mountain and Wuhe’s
(英語學系, 2011-03-??) Andrea Bachner
This essay analyzes Gao Xingjian’s Soul Mountain (Ling shan 1990) and Wuhe’s The Remains of Life (Yusheng 1999) and their reflections on history and what lies beyond or outside of history. In the face of past traumas, the Cultural Revolution in Gao’s, the Musha Incident, in Wuhe’s case, both authors and their respective protagonists turn to prehistory. Gao and his protagonists, split into different perspectives, travel through China in search not only of the “soul mountain” of the title, but of natural preserves and minority cultures. Wuhe’s protagonist dwells among the indigenous Atayal in Taiwan and becomes especially interested in the practice of headhunting—one of the rituals conventionally associated with the “primitive.” And yet, each author effects much more than a simple return to an imagined prehistory. In their texts, the renegotiation of historical trauma acquires a complex temporality: not only a return to the traumatic event, not merely a finally unfulfilled and unfulfillable desire for a world untouched by trauma and history, but also a reflection on what remains of and after trauma. These texts highlight and question the construction of history with and through its other(s): If the logos of history always needs its own constructed other—as non-logos, as nature or bios—in order to function, how can we rethink its temporal and conceptual logic? Can we craft the remains of history into a site of possibility? Can we glimpse a moment that neither succumbs to the dichotomy between history and its ineffable other nor to a total immanence of history? What is the hallmark of a representation of the past that would allow us not to become absorbed in it without remainder? What kind of text can reflect on history’s violent character without inviting an eternal return of trauma, but also without fetishizing a pristine prehistory, unmarked by trauma?

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