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題名 | Counterhegemonic Site of Resistance and a Reflection on the Nature of Ezra Pound's Cultural Appropriation and Transposition in Cathay=龐德在《中國》裡異文化之挪用與轉移:對反霸權論述中抵制場域之反思 |
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作者 | 吳怡萍; | 書刊名 | 英語語言與文學學刊 |
卷期 | 18 民95.08 |
頁次 | 頁103-111 |
分類號 | 874.51 |
關鍵詞 | 反霸權論述; 抵制; 異文化挪用及轉移; 龐德; 中國; Counterhegemonic site; Resistance; Cultural appropriation and transposition; Ezra Pound; Cathay; |
語文 | 英文(English) |
中文摘要 | 龐德的《中國》詩集本質上是一部跨/超文化的作品,對於作者而言,異文化的挪用與轉移是美學問題,然而將異文化之挪用/轉移與普遍性/政治正確性視為一體的文化評論家而言,卻是一個值得思考批判的政治問題。站在抵制立場的文化評論家認為,西方對異文化的挪用與轉移是一種文化剝削、粗鄙帝國主義的實踐,會對他者的文化產生錯誤的認知與不當的建構。若將龐德的《中國》放在這個論述中檢視,龐德對中國詩的挪用與轉移,可被視作西方對他者的另類殖民。本文提出龐德對異文化的挪用與轉移策略,可為反霸權論述中之抵制場域帶來反思,在創作《中國》這本詩集時,其語言/文化/性別越界,可被視為東/西方文學傳統交融之典範,詩人並非如Michael North所言只是個「變裝」大師,在喬裝自己是不同時空下某個外來者的角色,在靈活運用不同族群面具的同時,似乎不覺察自己的「變裝」會對不同文化族群帶來衝擊;其次,文中也對這個抵制域場提出建言,對出現在西方文本中異文化之呈現、風格與想像,需作嚴謹的檢視,而非一開始就直接否定西方文化國的發聲。 |
英文摘要 | Pound's Cathay, in essence, is an intercultural and transcultural project. In his appropriation and transposition of Chinese poetry, however, what is for Pound an aesthetic problem becomes for cultural critics a political one. Those critics who consider that personal appropriation and transposition of the cultural other fundamentally interpenetrates other complex issues such as "universality" and "political correctness" resist cross-cultural appropriation and transposition and have only considered it exploitive, a kind of crude hegemonization and cultural imperialism, perpetuating potentially harmful misconceptions about cultural others. If viewed within this discourse, Pound's transposition and interpretation of the Chinese poems in Cathay is easily perceived as colonizing the literature of another country from a position of power and privilege. It is suggested in this paper that notions of literary voice, representation, style and imagination require rigorous examination rather than downright denial of such locations. Part of the effort here is also to perceive Pound not as a "masquerading" artist, who, as Michael North defines it, is attracted to "the role of racial alien" and "pretends" to be someone else in a time different from the real time of the artist, exploiting the flexibility of the ethnic mask without any awareness of a detrimental effect on cultural others. With closer examination, Pound's gesture can be viewed as a positive cultural exchange rather than as cultural exploitation. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。