台灣社會研究季刊第八十六期

專題──文化研究的人類學 人類學的文化研究

性別政治與原住民主體的呈現：夏曼‧藍波安的文學作品和Si-Manirei的紀錄片／邱貴芬(86民 101.03 頁 13-50)

本論文從性別政治的角度切入，分析兩位達悟文化工作者（作家夏曼‧藍波安和紀錄片女導演張淑蘭­──Si-Manirei）在其文學、影像作品裡所呈現的原住民主體所隱含的深層意涵。原住民文學運動在1980年代中葉伴隨原住民運動興起，積極介入原住民問題（the indigenous question）的探討，於原住民主體建構的課題著墨尤深。達悟作家夏曼‧藍波安堪稱代表。本論文先以性別政治角度切入夏曼所呈現的達悟主體論述建構，解析其中隱含的「男性社會慾望」（homosocial desire）的深層社會文化意義，以及如此「達悟男性主體」建構方式可能隱藏的性別政治意涵。論文後半段以達悟紀錄片女導演Si-Manirei的代表作《面對惡靈》作為參照，討論這部紀錄片如何在召喚倫理行動的影像紀錄過程中，呈現另外一種原住民主體建構的方式。除了作品預設的讀者／觀眾群不同之外，性別位置的不同也影響兩位達悟文化工作者對於原住民主體建構的處理方式。性別政治的關照有助於我們深入探究原住民主體再現的問題。

Via a comparative study of the writings by Syaman Rapongan (a celebrated Tau indigenous writer) and a documentary film by Si-Manirei (a renowned Tau woman documentary filmmaker), this essay explores the gender politics of the representation of indigenous subjectivity. While the indigenous subjectivity formation in Syaman Rapongan’s works is often informed by what can be called “homosocial desire” as defined by Eve Kosofsky Sedgwick, Si-Manirei’s documentary film And Deliver Us from the Evilrepresents indigenous subjectivity in terms of Levinasian ethical responsibility for the other. In addition to the difference in the intended function of the works, gender position in traditional indigenous society also contributes to the difference in the approach to the question of indigenous subjectivity. The essay contends that critical attention to gender politics helps shed light on the cultural representation of indigenous subjectivity.

Keywords:indigenous, subjectivity, literature, documentary film, Syaman Rapongan, Si-Manirei

部落「姊妹」做性別  交織在血親、姻親、地緣與生產勞動之間／林文玲(86民 101.03頁 51-98)

居住在部落（社群）的「姊妹」在生命的諸多向度上，因為不同環境與條件的多重交織，以及由此而來的具差異的身體展現與性別表達，使得生活在部落的原住民「姊妹」在性別構想以及性別的身體實踐上不同於「變裝」（CD: cross dresser）、「跨性別」（TG: transgender）或「男同志」（gay men）的性別身分。這些「差異」的產生及持續存在，其所座落的社會機制、文化環境與族群互動的經驗，讓這些差異得以顯現或產生轉化。尤其，部落（社群）的親屬關係紐帶確實連結或束縛所有有社會關係的人。部落生活所體現的親屬關係，實際上與政治、經濟、社會互動與宗教行為的種種緊密交揉。親屬關係的界限、規範或義務、責任的展現，多少說明了部落「姊妹」在性的實踐、性別的展演、社會連結以及家（戶）建立的可能或不可能。

部落（社群）生活的當代情境以及政治經濟的差異，形塑著部落原住民「姊妹」們的生活與性別的種種表現。本文重點之一是透過人類學視角對「姊妹」（性別）作為一種（可能的）社會範疇、社會關係（的體現）以及社會結構、文化秩序，如何在固有的親屬關係版圖中，自我界定、轉化或符應既定的性別（及其規範），維護、修整其社會關係與網絡之連結，進行觀察。重點之二則聚焦在「姊妹」們有因親屬連帶或因「姊妹」的性別連帶，使得她們在社群生活、經濟生產與情感聯繫，攀附在既有的親屬組織與家（戶）單位之中，或隱或顯地連結彼此，發展了「姊妹」關係、鞏固「姊妹」情誼的同時，也讓家（情感與象徵的功能）與家戶（經濟與生產的功能），以及「姊妹」身分及其意涵的（再）生產，有了不同的出路與具體的另類實踐。

  “A-dju”, the indigenous sisters living in rural cities have their unique ways of gender performance and display of physicality that are “different” from cross dressers, transgenders and gay men. This paper will explore the issue of how intersectionality of social institutions, cultural and physical environment, and interactions among different ethnic groups enables the evolution, the existence, and the transformation of “a-dju”. To this end, my research will examine the social category, the embodiment of social relations, the social structure, as well as the establishing or sustaining cultural order of “a-dju” from the perspective of anthropology, so as to build up a clear vision on the following concepts: (1) The formation and sustainability of “a-dju” as a concept and a category within indigenous culture. (2) The establishment of a gender system and the operation of gender ideologies among different cultural conditions and social context.

Keywords:“sisters”, “cc’s”, gendered work, social adults, political economy of sex and gender

《南進台灣》：紀錄片作為帝國之眼／ 蔡慶同 (86 民 101.03 頁 99-132)

回顧既有日治時期台灣電影史的經驗研究，較少論及紀錄片的類型及其階段性的差異，尤其是它與其他再現真實的技術，如何共同形構作為視覺的治理？因此，本文乃是以《南進台灣》為例，分析其生產的權力、紀錄的形式、環島的巡視、南進的視線等等面向，並透過它與其他再現真實技術之間的互動連結，進一步凸顯帝國主義是如何不斷再現被選擇的真實，以規訓著包括被殖民者與殖民者的觀看方式。

Cinema in Taiwan during Japanese colonial rule was both a leisure and a propaganda(especially the genre of documentary). This paper examines “Go Southward to Taiwan” as an example and argues that documentary during Japanese colonial rule is bested understood as the technique of representing reality just like exhibition and tourism. They all practice as Imperial Eyes to govern the looking both native and colonist.

Keywords:“Go Southward to Taiwan”, documentary, Imperial Eyes, representing reality

貧窮的文化反思  三位原住民的生命話語與意義／林徐達(86 民 101.03頁 133-178)

本文通過民族誌田野調查，陳述三位原住民報導人的生活經驗與話語，闡釋底層人們的貧窮處境、價值認知與生命敘事，藉以反思統計分析模式的文化盲點，以及當代社會主流價值觀對於貧窮文化和底層生活的偏見。貧窮的經濟生活特徵一方面再現了現實環境的壓力、生活態度與道德價值、生命經驗的累積，和維持生存的必要妥協和適應等複雜因素，另一方面，藉由人類學對於「原初的豐裕社會」的理解，亦彰顯了在地的文化行為和生態經濟體系。同時，本文試圖釐清貧窮概念如何被納入社會福祉論述中，賦予框界、族群想像、福利補助等行動，並且認為主流社會價值長期以他者的文化和道德標準，評予底層人們的貧窮標籤，由此形塑出無法擺脫的文化創傷。通過Oscar Lewis對於貧窮文化的詮釋，本文主張貧窮的定義不單是某一社群在經濟處境上的剝奪，更是較大優勢的資本主義文化社會下的階級身分；貧窮文化正是處在邊緣位置的貧窮人們，在此一生活價值體系中所採取的適應方式和反應。

Drawing on the ethnographic depictions of the economic lives among three Taiwanese aborigines, this essay intends to bring to light the culture of poverty of the underclass. By means of illuminating the concept of “original affluent society”, this essay articulates the economic lives of Taiwan’s aboriginal society, thereby revealing their eco-cultural system. This essay then criticizes the ways in which the social welfare policies and financial supports intensify a dismal impression of inferior abilities imprinted on the aborigines. The conceptualizations of multiculturalism and sustainability in turn insinuate a cultural image of victimization into people’s minds. The definition of and understanding toward poverty is thus never simply comprehended as an economic deprivation, but a social status as well as cultural suffering inextricably supplemented by a predominant capitalist society. The essay asserts that with a low aspiration of living, the marginalized people adopt the mechanism of culture of poverty as a means to reduce frustration, and gain the confidence of identity and strength of survival.

Keywords:economic lives, underclass, social welfare, culture of poverty,

indigenous studies

跨文化理解與翻譯  魯凱族田野經驗與閱讀原住民漢語文學之間的對話／王應棠 (86民 101.03 頁 179-206)

本文首先從我在魯凱族好茶部落田野中的「錯誤」與「錯愕」經驗出發，指出其中凸顯出的課題已經不再是一般的跨文化對話中的理解困境，而是連族群內部的人對自己族群傳統的認知都存在巨大差異的現象。然後轉到當時事件中的要角奧威尼在因緣際會之中，從「報導人」、「翻譯」與「顧問」等做為本族與他族的中介者，逐漸轉為魯凱族的作家，透過漢語書寫展開族群文化的紀錄與文學創作，以詩歌、散文、報導及小說等多樣的文類呈現，而創作之依據絕大部分係其對自身文化之採集與詮釋之成果，因此他的所有作品均可視之為自我書寫之民族誌來閱讀。穿梭在魯凱族好茶的田野經驗與閱讀奧威尼漢語書寫文本的體驗，我嘗試將「（魯凱族好茶部落）田野作為文本」與「（魯凱族作家奧威尼的漢語書寫）文本做為田野」併置，突出二者共同的跨文化理解的基本問題。接著論述奧威尼的具體書寫文本案例，討論原住民漢語書寫在生產與接受過程中，所涉及的語言與文化脈絡問題，並進一步討論以「翻譯作為跨文化理解的模式」對此一議題的啟示。作為初步結論，我以原住民漢語文學作為跨文化理解的媒介，並將翻譯作為跨文化理解的模式，讓我們可以透過「翻譯」，昭示了一種包含他者，並且邊界可以在跨文化對話的歷史進程中不斷擴大的特質。受到詮釋學的啟發，強調我們對自身文化的自我理解永遠需要走出自身，在遭逢差異中才能反思自身文化的未言明的前見，從而擴大對自己文化的理解。而在理解的過程中，初期所發生的「錯誤」、「錯愕」等不理解或誤解的現象，正是預設了彼此可以相互理解為前提。

This study is aimed to give shape to the notion of “translation as a model/metaphor of cross-cultural understanding”. I started this paper with a description of what I, an ethnic Han researcher, called the “error and shock” events in my fieldwork with Rukai tribal communities in southern Taiwan. These ethnographic happenings led to the realization that disputes regarding the meanings of cultural tradition existed not only in cross-cultural encounters, but also among indigenous informants themselves. I then made a close reading of literature works done by a local Rukai informant, Auvini kadresengan, a free-lance writer devoted himself to record Rukai cultural tradition through various writing genres of report, poetry, essay and fiction. As such, Auvini kadresengan’s literature works could be regarded as self-report ethnography. The highlight of this paper was to juxtapose my fieldwork with Auvini kadresengan’s writings and envision them as dialogue to illuminate what it took to establish cross-cultural understanding. The dialogical arrangement was not merely a juxtaposition of concepts or categories, isolated from their social contexts. A conversation between two people always involves a third dimension, that is, the mediation of the embedded or unconscious cultural structures in language, terminologies, non-verbal codes of behavior, and assumptions about what constitutes the imaginary, real, and symbolic. Accordingly, I emphasized that aspects of language and cultural context are essential to the production, circulation and reception of indigenous literature, which can be embodied and labeled as “translation as a model/metaphor of cross-cultural understanding”. Approaching indigenous literature as mediator of cross-cultural understanding, I interwove mine and Auvini kadresengan’s ethnographic texts to indicate that every culture always includes the other and its boundary can be widened through cross-cultural dialogue. The “error and shock” events involving misunderstanding is unavoidable in the beginning of cross-cultural encounter. Nonetheless, it is also a prerequisite to reach mutual understanding if dialogue is to be continued.

Keywords:cross-cultural understanding, translation, dialogue,indigenous literature

書介與評論

足踏著中國的土地／孫曉忠(86 民 101.03 頁 211-223)

歷史中的「個人」可以多「大」？以《毛澤東時代和後毛澤東時代》為中心／姚丹(86民101.03頁225-235)

面對當代史，我們需要什麼樣的勇氣和謙遜？從錢理群《毛澤東時代和後毛澤東時代》第一講談起／何吉賢 (86 民 101.03 頁 237-252)

「五七體制」的啟示／吳鈴木將久 (86民 101.03 頁 253-266)

自我的歷史構成讀《毛澤東時代和後毛澤東時代》／何浩(86 民 101.03 頁 267-289)

歷史書寫中的批判性與歷史性讀錢理群先生著《毛澤東時代和後毛澤東時代（1949-2009）》／（86 民 101.03 頁 291-315）

自由社會主義與媒介交叉補貼從《傳播在中國》論起／（86 民 101.03 頁 317-339）

左異聲響

我所認識的陳映真以及1960年代的台灣／淺井基文(86 民 101.03 頁 345-363)

淺井基文：就我而言的陳映真與一九六零年代（會後討論）／翻譯／逐字：馮啟斌   整理：胡清雅(86民 101.03 頁 365-377)