2006 座談會 

全球化上海的轉換景觀

Tropes of "Home": Shifting Views of the Global Shanghai

顏海平    美國洛杉磯加州大學戲劇與文化理論終身教授；洛杉磯加州大學中美藝術與媒體中心主任

2006.5.1  10：00~12：00

This talk explores the shifting configurations of the tropes of 'home' (jia) in contemporary Chinese culture and society. By working through a range of textual, architectural, performance and other visual materials specific to the city of Shanghai amidst its epic transformation, this talk attempts to raise some questions central to the studies of modern politics of visibility and disappearance, in an era of rapidly unfolding globalization.   

「家」的隱喻：全球化上海的轉換景觀

此次演講探討在當代中國文化和社會中持續變化的各種「家」的隱喻。透過研究關於巨變中上海的各種文本、建築、表演以及其他視覺性材料，此次演講嘗試提出加速度全球化時代中的一些核心問題,探索見與不見, 或曰能見度和失蹤性的議題。

哪方的歷史：黎紫書的“希斯德里”

（“希斯德里” ，history也，乃黎紫書〈七日食遺〉一文角色名稱）

林春美    馬來西亞博特拉大學

2006.6.16  10：00~12：00

翻譯現代性：瞿秋白思想探討

費南 Florent Villard    法國里昂第三大學中文系

2006.6.20  14：00~17：00

從歷史學的觀點看：美國批評家怎麼討論中國現當代文學作品中的歷史與記憶問題 

金介甫 Jeffrey C.Kinkley     美國聖約翰大學歷史系教授

2006.6.22  15：00~17：00

帝國之眼：性/別、殖民主義，及在滿洲之女性

Imperial Eyes: Gender, Colonialism, and Women in Manchuria

阮斐娜    美國科羅拉多大學東亞系

2006.11.8  15：00~17：00

《童年往事》﹕朱天文和候孝賢作品中的時間詩學

The Time to Live and the Time to Kill: The Poetics of Time in the Works of Chu Tien-Wen and Hou Hsiao-Hsien 

蔡秀粧    East Asian Studies Oberlin College、本所訪問學人

2006.11.17  14：00~16：00

黑色國體：楊德昌《牯嶺街少年殺人事件》重訪

Nation as Noir: Edward Yang's A Brighter Summer Day Revisited

林建國    交通大學外國語文學系暨外國文學與語言學研究所

2006.11.20  10：00~12：00

重思作者論：蔡明亮電影中的文本互涉與內文互涉

Auteurism Reconsidered: Intertextuality and  Intratextuality in Tsai Ming-liang's Cinema

林松輝博士    University of Exeter, U.K., Lecturer in Film

2006.12.18  10：00~12：00

To speak of the Malaysian-born, Taiwan-based filmmaker Tsai Ming-liang as an auteur is to open a can of worms known as auteur theory. The term auteur is so loaded in meaning that it is impossible to employ it without invoking the debate sparked off since the 1950s, involving such luminaries as the critics of Cahiers du Cinéma and Movie to Andrew Sarris and Peter Wollen and more. It is not my intention here to rehash the debate, which has already been summarised and anthologised (Caughie 1981/6; Wexman 2003), but to reconsider the concept of auteurism through Tsai Ming-liang’s cinema. Sarris, credited for introducing auteur theory into the English language in his article, “Notes on the auteur theory” in 1962, revisited the concept in 1977 when he argued that auteurism “has less to do with the way movies are made than with the way they are elucidated and evaluated” (2003: 28). Sarris, therefore, sees auteurism more as a critical discourse than a filmmaking practice. I want to argue instead that Tsai reinvigorates auteurism precisely as a filmmaking practice, and to illustrate this, I will examine his deployment of intertextuality in his fifth feature film What Time Is It There? (2001; hereafter What Time) and intratextuality in a short film The Skywalk is Gone (2002; hereafter Skywalk). This article aims to demonstrate that the concept of auteurism has not been foreclosed since the heyday of the debate surrounding it; rather, auteurism is not merely a critical discourse but can also be a filmmaking practice that serves to perpetuate the cult of the auteur whose currency is still presently very much valid in world cinema.

在後結構主義與後羅蘭巴特的時代談作者論，乍看之下儼然是不合時宜的。然而，再堅決的反作者論者也不得不承認，「作者」此一迷思與光環並不曾完全褪色或退去。本論文嘗試藉用蔡明亮電影中的元素重新思考作者論。將作者論引介至英文世界的Andrew Sarris認為作者論主要為批評論述話語，而非電影實踐的方式，本文則提出相反意見，以蔡明亮的《你那邊幾點》（2001）與楚浮《四百擊》的文本互涉（intertextuality）及蔡的短片《天橋不見了》（2002）中的內文互涉（intratextuality）為例，說明此二部電影的策略重新建構了作者的形象，提出了一種論述作者的方式。