《台灣社會研究季刊》 第69期：

一般論文

從局限經濟到普遍經濟：鴉片消費的東方語藝？／邱德亮(69 民 97.03 頁 01-55)

本文從德希達（J. Derrida）〈毒品的語藝〉一文出發，探討鴉片（第一個毒品）如何成為一個現代的問題意識；也從比較文化史的角度探究何以在十九世紀歐洲和晚清中國各發展出兩種不同的鴉片消費文化：鴉片文學以及精緻的鴉片物質文化，並試圖解釋其間差異的文化意義。

本文借用Georges Bataille局限經濟與普遍經濟的區分，說明同樣做為消費／消耗文化邏輯的經濟思惟。十九世紀歐洲的鴉片消費文化，符合布爾喬亞的工作倫理的有意義的生產或意義之生產，亦即局限經濟的原則；相對於在晚清中國的鴉片消費則是毫無保留的耗費，毫無意義生產的消費形成普遍經濟。後者與情色、賭博一樣原本都只是傳統身份社會之下，透過無意義消耗達到象徵性競賽的舊（惡）習，都在以貯存、積累為未來保留之小布喬爾政治經濟學下，以戒毒為手段建國的現代國家認為是「該被詛咒的部分」。本文論證在1880左右以前的中國的鴉片消費是延續著傳統文人藉著養癖之變形。文人透過癖嗜的培養，展示其文化資本的炫耀性消費／消耗。這種變味的品味，原本屬於上流社會做為社會區判的物質消費，卻在清末民初文明崩解時，突然成為「不文明」、「落後」、「醜陋」舊社會的象徵。於是，新興民族主義健康新中國身體集體渴望，將原本已經被挪用為癖好文化的「煙霞癖」、「芙蓉癖」轉化成公開譴責的「鴉片癮」。
　
最後，本文亦論證十九世紀歐洲文人或藝術家以逾越毒品戒命的方式文化在生產裡將鴉片消費視為一種「出柙」的創作主體，但其文學或藝術產品卻依屈服於文化商品市場，並非Bataille意義下的至高主權生命。相較於此，晚清中國的鴉片消費從普遍經濟的角度來看，更接近至高主權的生命，毫無保留，非生產性的絕對消耗，甚至不屈服於任何意義的生產或有意義的生產。

關鍵字：鴉片消費、鴉片文學、癖癮、普遍經濟、局限經濟、至高主權生命

This article begins with J. Derrida's “The Rhetoric of Drugs”, discuss how Opium consumption became a problematic in the modern world. By a comparative perspective of cultural history, we try to explain the cultural meanings of the difference of two consumption of opium in the 19th century Europe and in the late imperial China: Opium literature for one and the material culture of opium smoking for the other.

G. Bataille's distinction of“restraint economy”and“general economy”help us to understand this difference of two opium consumption cultures. Opium literature in the 19th century Europe could be a product of the cultural production which obeys to the bourgeoisie's work ethic, i.e. under the principle of restraint economy. On the contrary, the Chinese opium smoking is a pure expenditure without reserve, consumption without meanings production, and non-meaningful production. This is why the later was regarded as the“accused shares”by the modern China which follows the petit bourgeois's political economy thinking, to reserve itself in order to develop in the future. Like gambling and prostitution, opium consumption were a part of symbolic competition of expenditure in the traditional status society, it became suddenly a symbol of“evil”of the ancient society.

This article argues finally that for the 19th century European writers and artists, opium consumption is a way of transgressing the interdiction to constitute their creative subject in the cultural production. And their creative products summit to the cultural commodity market, therefore, this subject is not Bataille's sense of sovereign life. Inversely, the Opium Smoking in China could be more near to this sovereign life, without reserve even the health and life, until and over the death.

Keywords:Opium consumption, Opium literature, habitus, restraint economy, general economy, sovereign life

靈力經濟：一個分析民間信仰活動的新視角／陳緯華(69 民 97.03 頁 57-105)

在世俗化的衝擊之下，台灣民間信仰產生了一些新的現象，如「宗教的市場化」、「靈力的似真性危機」以及「民間信仰的文化化」等。在實作的層面上，它給民間信仰帶來的問題是，使「廟宇經營」成為各廟宇及信徒不得不面對的問題；在理論的層面上，它改變了民間信仰在社會整合中所扮演的角色，並使「宗教治理」成為影響整體民間信仰發展的重要因素。而民間信仰研究中既有的理論觀點在處理這新的社會整合與宗教治理問題時已有所不足。本文提出「靈力經濟」這個新的概念來面對此一挑戰，將民間信仰看成是一個交換的場域，分析其運作邏輯。本文指出，靈力是需要人去生產的，它是一個社會關係運作下的資源動員活動。透過「靈力生產」這個概念，我們可以將社會整合看成是資源動員的過程及其結果，而靈力生產模式的改變反映的是社會變遷中社會關係型態的改變。另一方面，本文對靈力經濟的分析，提供了有關諸種「宗教治理」技術背後的文化邏輯，使我們能夠在一個地方知識的基礎上討論宗教治理問題。本文指出，由於靈力大小的判準是社會性的、公共性的，使得神明靈不靈的認定有其客觀的基礎---金錢與人氣的積累。在這樣的基礎上，靈力生產活動才能進行。又靈力經濟有兩個重要特徵，首先是「消費就是生產」；其次是靈力經濟必須要有「婉飾」才能運作。

關鍵字：民間信仰、世俗化、現代性、靈力經濟、婉飾

Because of the impact of secularization, new phenomenon such as “marketization of religion”, “crisis of the authenticity of magical power”, and “making temple activities into cultural festival” came into existing among Taiwan’s folk religion. On the practical side, this new phenomenon gave temples and believers an inevitable problem: “temple management”. On the theoretical side, they reconfigure the role of folk religion in social integration and make “the governmentality of religion” a significant factor for the development of the folk religion. These are challenges for established theories on Taiwan’s folk religion. This article proposes “the economy of magical power” as a new perspective to face these challenges. It regards folk religion as an field of exchange and analyzes its logic. This article points out, the magical power of gods needs to be produced by people. It is a process of mobilization of resource as the consequence of the management of social relations. Via the concept of “the production of magical power”, we can take the social integration as the process and result of the mobilization of resource. And the change of the mode of the production of magical power is the reflection of the change of the form of social relation. In the other hand, the analysis of the economy of the magical power reveals the cultural logics on which the various technics of the governmentality of religion are based. This makes us be able to discuss to the problem of religious governmentality on the ground of local knowledge. This article points out, because the measurement of the magnitude of magical power is of social and public, the estimation of whether a god is “ling” （efficacious） or not gets an objective ground---the accumulation of money and worshipers. And therefore, the production of the magical power is possible. There are two characteristics of the economy of magical power. The first is “consuming is producing”. The second is that “euphemism” is necessary for the operation of the economy of magical power.

Keywords:folk religion, secularization, modernity, the economy of magical power, euphemism

電視的政治與論述：一九六○年代台灣的電視設置過程／柯裕棻(69 民 97.03 頁 107-138)

本篇論文探討一九六○年代電視進入台灣社會的初步過程，以及當時它所引發的諸多社會政治爭議。電視工業在當時涉及國府與中國大陸之間的國防軍事競爭，同時也是位在國際邊陲位置的台灣進入世界生產體系的指標產業，這使得電視全方位地成為現代化的重要象徵物件，亦是促進現代化的重要手段之一。本論文的提問是：在台灣設置電視的過程中，電視的社會政治論述是如何展開的？出現了哪些重要爭議？又該如何理解那些爭議？其與當時政治經濟條件的關聯為何？

台灣電視所從出的社會條件，不僅只是國府的控制，還受到東亞的冷戰局勢、文化民族主義、去殖民化政策、工業經濟發展等因素的交錯影響。在這些內外在條件的制約下，電視究竟如何進入台灣社會？本論文通過歷史分析，考察電視設置過程中的社會政治爭議，以釐清台灣早期的電視政治與電視論述及其形成條件。

關鍵字：電視設置、現代化、冷戰、日本

This paper examines the formation process of television in the 1960s Taiwan. A major move of industrialization, Taiwan’s television industry developed under several critical conditions: capital and technological supports from Japan, cultural nationalism against Japan, military and diplomatic competitions with Communist China, and the Cold War situation at large. With a focus on the political discourse of television in the early 60s Taiwan, this article analyzes how television was conceived by key actors at that time, how this political dialogue led to the creation of the television industry in a certain way, and how this process was conditioned by the Cold War structure in East Asia and Taiwan’s relations with Communist China and Japan in particular. As such, this article contributes to clarifying several important aspects of the politics and discourse of television in the early 60s Taiwan.

Keywords:installation of television, modernization process, Cold War, Japan

貝克特在台灣：當代劇場裡之跨文化演繹／高維泓(69 民 97.03 頁 139-179)

以法文創作的愛爾蘭劇作家貝克特究竟有多少「愛爾蘭性」（Irishness），一直是英語及法語學界爭論的焦點之一。然而，《等待果陀》卻是一齣可以絲毫不沾法國味或愛爾蘭味，而能打動諸多國家觀眾的荒謬劇場經典。在全球化的脈絡下，如果貝克特在一九五○年代創作的「反劇」的確存在著「愛爾蘭性」，這樣的文化特性是不是還歷久彌新？是不是提供繼起的各國導演、編劇、演員一個反思文化傳統的平台？本文將追溯一九六六年台灣《劇場》雜誌社，首演《等待果陀》以降，各劇團如何以不同手法改編貝克特的劇作。這些改編反映劇場界面對台灣社會邁向多元化、民主化過程，所面臨的困境，與亟欲開創的表演新局。本文將討論各演出如何嫁接東西方不同的文化元素，也將透過當時的社會脈絡，來檢視對台灣往後劇場界的影響。

關鍵字：貝克特、台灣、愛爾蘭、劇場、後殖民

One of the controversies in Beckettian studies is whether his Irishness is discernible in his drama, much of which was first written in French. Although the debate remains unsettled, researchers, including Vivian Mercier, Sighle Kennedy, and Eoin O’Brien, have argued that the playwright presented humor and satire dear to the Anglo-Irish mind, which Jonathan Swift and Oscar Wilde had previously utilized to tackle Irish and British issues in a cynical tone. In the view of these critics, Beckett, succeeding to this satirical tradition and having been an exile to the European mainland, like James Joyce and many of his Irish contemporaries, renovated this tradition by utilizing minimalism and absurdism. A number of critics have thus endeavored to unearth the playwright’s disillusion about, or criticism of, religion, life, and politics in his most obscure art. More specifically, his sense of Irishness was re-characterized in his works, no longer confined to the highly politicized and insular definition agreeable to local activists. To more accurately elaborate how Beckett’s Irishness has created a dialogic platform for the Irish and the world theatre, this paper will exemplify the way in which Taiwan’s theatre groups have adapted and contextualized his plays in a post-modern Asian society which is not less politically divided than the Emerald Isle. Beckett’s drama, consequently, provides Asian directors with more than a utopian but physical approach not only to the issues of identity and language but to complex human conditions that predestine Gogo and Didi’s desperation and helplessness in Waiting for Godot. The intertextuality of Beckett’s drama and its re-adaptations for Taiwan’s audience may thus illustrate how the significance of Irishness can be made inter-culturally available in a border-crossing situation. The skepticism and obscurity of his works may be made more apparent by observing how Asian directors, who mostly received higher education at western institutions, have produced them as vehicles of their own cultural and political agenda, and as a means to connect Taiwan’s modern theatres with European ones in an age of globalization. Their productions demonstrate the extent to which Beckett has maintained far-reaching influence over his counterparts in world theatre. Materials to be examined include theatrical reviews of Beckettian productions in Taiwan, interviews with directors, journalistic reportage, and translations of the scripts. Beckett’s plays which have been staged in Taiwan since 1988 include Waiting for Godot, Endgame, Play, What Where, Come and Go, Footfalls, Act without Words I, Act without Words II, and Ohio Impromptu.

Keywords:Samuel Beckett, Taiwan, Ireland, Theatre, Postcolonialism

白樂晴小專輯／白樂晴小專輯編案陳光興(69 民 97.03 頁181-186)

韓半島的殖民性問題和近代韓國的雙重課題／白樂晴（苑英奕譯）(69 民 97.03 頁 197-203)

為了克服“分斷體制”運動的“日常化”／白樂晴（朱玫譯）(69 民 97.03 頁 205-228)

白樂晴與韓國之民族文學論以及分斷體制克服運動／李旭淵(69 民 97.03 頁 229-237)

韓國民族文學論的建構及其焦點：以白樂晴的民族文學論為中心／崔末順(69 民 97.03 頁 239-263)

與台灣的情況類似，韓國現代文學成立於19世紀末西方列強和日本展開帝國主義侵略之際，並在歷經36年的日本殖民統治，以及光復後持續的民族分裂局面中，逐漸建立起其文學的方向，因此，以民族處境為主要思考前提的民族文學論，成了能夠規範及推動20世紀韓國現代文學運動的強大理念。　

在韓國，民族文學論的成立和發展，係隨著不同時期韓民族所面對的時代課題和歷史任務而具有的不同內涵變遷而來。例如，日據時期的民族文學論，乃是藉著階級文學和民族主義文學的對立而摸索出方向；光復初期，則又在批判過去狹隘的階級文學主張的氛圍中，建立了人民民族主義性質的民族文學論；進入六七○年代，圍繞著純粹文學和現實參與文學、民眾文學和勞動文學、現實主義創作方法等議題，展開過激烈的文學論爭和針鋒相對的對話，在此過程中，民族文學論的目標、方向和內涵，遂成為韓國文學界最為受到重視的主題。不過，自從80年代後期開始，伴隨著社會主義國家的相繼沒落，以及緊接而來的全球化情境的影響，它也因而受到後現代主義大敘事的沒落危機和日常瑣碎的全面抬頭之衝擊，從而以克服階級矛盾和民族矛盾為主要焦點的民族文學論，乃面臨著新的挑戰。
　
本文將透過各個時期的論爭內涵，整理出韓國民族文學論的建構過程及其焦點，接著再進一步以當代理論家白樂晴的民族文學論作為主幹，簡單介紹韓國民族文學論所關注的核心內容和其水準。
　
希望這些介紹和考察，不僅可以幫助我們了解韓國文學如何付出心血以因應自身的時代、歷史任務，同時對現階段以自我主體性的確保和認同正努力摸索著共識的台灣文學界，也能夠帶來一個可供參考的方向。

關鍵字：韓國文學、民族文學、民族文學論、韓國民族文學論

Not unlike the situation in Taiwan, Modern Korean literature was established at the end of the 19th century when western countries and Japan invaded during their imperialistic expansion. It gradually established its literary direction during the 36 years of Japanese colonization and continuing national separation after restoration. Therefore, the national literary theory, primarily based on consideration of the plight of the people, has become a powerful force that drove the modernization of Korean literature in the 20th century.

In Korea, the establishment and the development of an ethnic literary theory has changed with different temporal exigencies and historical vicissitudes faced by Koreans in different periods of time. For example, national literary theory during Japanese colonization searched for its direction from the opposition between class literature and nationalist literature; in the early years of restoration, amid an atmosphere of criticizing the past’s narrowly conceived class literature, national literary theory was based on the very nature of nationalism. In the 1960s and 1970s, the focus had turned to pure literature, committed literature, popular literature, labor literature and creative techniques stemming from realism, generating heated literary debates and confrontational discourses. The goals, direction and nature of national literary theory have gradually gained the attention of, and emphasis in, the field of Korean literature. But in the latter years of the 1980s, with the decline of socialist countries and the ensuing global development, it has suffered from the impact of post-modernism’s diminishing concern for grand narratives and concurrent turn to everyday matters. Therefore, national literary theory, which was based on overcoming the discrepancies of classes and nationalities, was faced with new challenges.
　
This article will summarize the construction and foci of Korean naitonal literature through the nature of the contentions in each period. Furthermore, based on the national literary theory of Paik Nak-chung, a contemporary theorist, this article will introduce the core values and standards of Korean national literary theories.
　
I hope that these introductions and observations will not only help us understand how Korean literature has accommodated temporal exigencies and historical vicissitudes, but also bring reference to the literature community in Taiwan, which works hard on searching for a common ground in ensuring self-contained subjectivity and identity.

Keywords:Korean literature, national literature, national literary theory, Korean national literary theory

問題與討論

從粗放到精耕的高等教育改革—兼評《全球化與知識生產—反思台灣學術評鑑》／吳挺鋒(69 民 97.03 頁 265-280)

本論文藉由對台灣高等教育改革脈絡的重構，即粗放型發展與精耕型發展這兩個階段，做為評價《全球化與知識生產—反思台灣學術評鑑》這本書的對話基礎。《全球化與知識生產—反思台灣學術評鑑》這本書之所以重要，係因它誕生於台灣高等教育體制急速往新自由主義傾斜，並有意識地以學術社群的集體之力，試圖指出新自由主義所訴諸的（學術）評鑑制度如何支配了自主的知識生產。然則，本論文在肯定之餘，卻也指出，《全球化與知識生產—反思台灣學術評鑑》仍在理解台灣高等教育改革的脈絡裡，產生了斷裂，因而忽略了台灣高等教育內部的兩級分化與相關議題。連帶地，學術社群如何界定、維持，以及營造一個團結的社群倫理，進而再生產高等教育與社會民主化之間的關連，仍是一個有待面對的挑戰。

關鍵字：高等教育、粗放型發展、精耕型發展、評鑑制度、團結

By restructuring the context of Taiwan Higher Education Reform, i.e. the stages of extensive and intensive developments, this article attempts to review this book: Globalization and Knowledge Production: Critical Reflections on the Practices of Academic Evaluation. The significance of this book came into being with Taiwan Higher Education System’s rapid inclination toward neo-liberalism. It points out how the evaluation system invoked by neo-liberalism dominates the autonomy of knowledge production. However, this book’s discontinuity in understanding the reform context has ignored the polarization within education and relevant issues. Sequentially, how the academic community defines, and maintains, and operates the ethics of solidarity in order to reproduce the links between the higher education and social democratization is still a challenge which needs to confront with.

Keywords:higher education, extensive development, intensive development, evaluation system, solidarity

觀察日本的視角／孫歌(69 民 97.03 頁 281-290)

二十世紀中國社會主義的歷史經驗和韓國社會／白承旭(69 民 97.03 頁 291-322)

經過毛澤東時代和其死後的鄧小平與江澤民，到現在為止，將中國的歷史經驗看作是現代性與反現代性的自我矛盾。這個矛盾可以概括為兩個過程，即中國從資本主義世界脫軌後重新與該軌道接軌。因此脫軌的過程中出現的問題不會僅僅因為重新接軌而消失。本文試圖進行如下探討，毛澤東的幽靈在和我們講述什麼，20世紀中國社會主義的歷史經驗在繼續向我們提出哪些問題，這些問題在今天對我們意味著什麼，我們應該向幽靈提出哪些它沒有提出過的問題。

中國第一個5年計劃的“過渡期的總路線”和之後大躍進時期的“社會主義建設總路線”就是在雙重脫軌之下推動的、在被強迫的“自立經濟”下出現的歪曲現象的一種表現。“生產力中心論”和“生產關係中心論”只不過是在這種條件下出現的矛盾的雙重表現。文化大革命是將這種被強迫的自立經濟下的矛盾、即在“生產力中心論”和“生產關係中心論”的錯誤對立結構下形成的矛盾用暴力方式加以解決（與其說解決，更準確地說是提出問題）的過程。文化大革命雖然試圖賦予“群眾主導性”，通過新的政治實踐將該問題以“政治挂帥”的方式加以解決，但當處於問題核心的“黨”被當作運動目標的那一瞬間，運動的進一步發展被中斷，變成了對知識份子的攻擊形態，問題提出未能從對國家主義的攻擊中擴展到對發展主義的攻擊。
　
中國的經驗作為迂回式的論據在80年代韓國社會性質爭論中，對進化主義的資本主義觀和變革論進行了批判，將資本主義發展與依附這一總問題結合在一起，試圖對社會主義論進行批判式理解，而起了很重要的作用。當然90年代以後，這一論旨以金融全球化和“現實社會主義圈”的沒落形式出現的世界體系變化中，暴露了未能捕捉到的盲目之處的局限性，並強調了新的理論轉化的必要性。這裏提出的爭議，我們在20世紀後期中國的歷史經驗中可以再次提出。
　
文化大革命最後以失敗告終，中國進入了新的“接軌”階段。接軌意識形態的核心是在之前的過程中一直強化而來的發展主義和“追趕”。接軌的第一階段是以雙重脫離中的世界經濟方面緩和開始的，這表現為與美國關係改善的形態。雙重的脫軌在文化大革命政治失敗以後轉變成為雙重接軌的過程中，包容中國群眾的意識形態情況也多少發生了一些變化，重要的焦點是中國與民族主義地位變化相關聯的。

關鍵字:中國，社會主義，毛澤東，韓國，文化大革命，大眾，脫軌，接軌

From Mao to Deng and Zhang and the present time, historical experiences of contemporary China can be summarized as contradictions between modernity and anti-modernity. These contradictions involve two processes of de-linking from and re-lingking to the capitalist world economy. But during the re-lingking process the specter of Mao Zedong haunts us and poses us difficult problems.

“General line for the transitional periods” during the First Five Year Plan and following “General line for a socialist construction” during the Great Leap Forward appeared to be a distorted phenomenon that had been formed through forced self-reliance under the double de-linking circumstances. The Great Proletarian Cultural Revolution tried to solve the contradictions with ‘violent’ methods mobilizing mass initiatives in a way of“politics in command.” GPCR, however, failed as soon as the party became the target rather than a leader of mass movement, and was degenerated into campaigns against intellectuals with the statism and developmentalism intact.
　
Historical experiences of Chinese socialism gave some influences on Korean intellectuals as detours of debates on the nature of capitalism and socialism during the 1980s.China’s experiences could remain one of the important references that were used to interpret the internal history of socialism crtically and understand the history of capitalism from a non-eurocentric viewpoints. After China’s economic reforms, China’s new experiences give an intellectual stimulus to understand the world history from a wider view than before.
　
After GPCB China has been entering a new “re-linking” stage. The essence of ideological legitimation for the re-linking is development and “catching-ups” towards new nationalism that envies the accomplishments of the USA.

Keywords:China, Socialism, Mao Zedong, Korea, the Great Proletarian Cultural Revolution, masses, de-lingking, re-lingking

研究紀要

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