奔越叢林:海格彤《夢叢林》裡的詭異家帝國與羞恥女人

This paper investigates the uncanniness of the decolonizing projects conducted by the local and global agents in Jessica Hagedorn’s Dream Jungle to accentuate the spectral afterlife of imperialism that haunts the Asia-Pacific in the age of globalization. Linking the uncanniness of the jungle with the formation of the subjugated and subjectivized body of the Filipina, the paper argues that the uncanny projects of nation-building and failed attempts of decolonization mark the beginning of the impoverishment of the Philippines in the restructuring of global capitalism in the 1980s. The outcome of the impoverishment is especially acute for Filipinas, for they are the group that bears the brunt of the economic change in the Philippines. My reading of the text consists of two parts. In the first part I draw upon Amy Kaplan’s conceptualization of “manifest domesticity” and the Freudian concept of the uncanny to examine the Filipino male characters’ nation-building and domestic managements, as well as the neocolonial tendency that belies America’s self-reflection on its overseas expansion in the Asia-Pacific, which I call “uncanny domesticity.” In the second part I trace the lower class female character Rizalina’s life story to analyze the way in which she is biopolitically produced to serve as a provider of sexual and affective labor. I explore the outcome of the process in which her sex and affect are commodified to conceptualize her as a subject of shame and suggest that, despite its excruciating effect, shame has the positive force of motivating the subject to run away from the intimate governance of uncanny domesticity. In this sense, running away destabilizes the power structures at home, while drawing a unique trajectory of global mobility.本論文討論潔西卡‧海格彤《夢叢林》小說中，在地與全球人士所從事 的抵殖民大業如何呈現ㄧ種詭異性，藉以強調亞太全球化過程中縈繞不去的 帝國主義餘緒。本文連結叢林的詭異性與菲律賓女性通過屈從來進行主體化 的過程，主張國家建構及抵殖民大業的功敗垂成，標誌著八零年代菲律賓在 全球資本主義結構變動中，國家體質一落千丈的開端。而國家的衰敗，首當 其衝的是菲律賓的下層女性。本文分兩部分，首先我援用艾美‧卡普蘭(Amy Kaplan)所謂的「天命家帝國」(manifest domesticity)， 13 以及佛洛伊德的「詭異」 (uncanny)概念，來檢視菲律賓男性角色的國家建構所包含的家務管理，以及 美國在反省其亞太擴張之餘，所進行的新殖民，我稱這些大業為「詭異家帝 國」(uncanny domesticity)。第二部分轉向小說中下層女性角色莉娜(Rizalina)故 事的探討，分析她如何透過親密政治的形塑，被生產為性勞力與情感勞力的 提供者，並討論她成為羞恥主體的過程，但羞恥同時也產生正向的動力，驅 使主體不斷逃家，逃脫家帝國的親密規訓治理，這種結局開放的移動鬆動了 「家」的權力結構，也拉出ㄧ道獨特的全球移動軌跡

跨界與全球治理：跨越 / 閱《橘子回歸線》

本文從全球化多重權力治理的角度，來討論當代亞美文學建置的跨國轉向與族裔越境遷移的多向性對當代族裔主體的衝擊。強調族裔主體在跨國移動過程中，不僅須與國家地域權力交手，還需與資本邏輯及生命權力斡旋的處境。「跨國」固然有其積極的超越或僭越國家及地域權力的意義，但也可能跨向另一個權力介面，開啟另一個治理與生產的空間，不斷迫使族裔主體重新檢視移動、越界、移民的意涵及安家落戶的技術。首先檢驗全球資本擴張形式的三個階段與權力治理形式發展的平行關係，並從哈維所謂的「掠奪式累積」的觀點，指出哈特及涅格理的「無外部社會」看法的盲點，後者對全球化生命權力的闡釋有其重要性，但卻也忽略或遮掩了生命權力背後隱然存在的地域化可能，此外他們也未能指出多重權力治理同時存在並互為辯證的現象。本文第二部份以日裔美籍作家山下凱倫的小說《橘子回歸線》為例，討論書中各種臨界主體的越界矛盾，他們介於各種權力交錯的節點，如何一面跨越「帝國」的邊界，挑戰霸權對少數族裔的統馭，一面又須面對族裔意義的流失、資本邏輯的召喚、以及進入生命權力無窮生產過程的困境。最後，我檢驗傅柯的反指揮／行動的理論，藉此討論小說中的底層族裔角色如何在多重權力介面之間進行反指揮／行動，打開「跨國」的僵局

Is Duhuo Jisheng Tang containing Xixin safe? A four-week safety study

<p>Abstract</p> <p>Background</p> <p>Though the nephrotoxicity and carcinogenicity of aristolochic acid (AA) are known, its safety in clinical usage is not clear. This study aims to evaluate the safety of <it>Duhuo Jisheng Tang </it>(DJT) in a four-week study to treat osteoarthritis (OA) of the knee.</p> <p>Methods</p> <p>A qualitative and quantitative investigations on DJT were conducted. A list of adverse events (AEs), complete blood counts, and liver and kidney function tests were measured for participants with knee OA at their scheduled hospital visits. Each detected AEs was independently assessed for severity and causality by site investigators (Chinese medical doctors) and study nurses.</p> <p>Results</p> <p>A total of 71 eligible subjects were included in the clinical study where 287 AEs were reported. DJT did not contain detectable aristolochic acid (AA) under thin-layer chromatography (TLC) analysis and gas chromatography coupled with mass spectrometry (GC-MS). There were no significant changes in liver or kidney functions.</p> <p>Conclusion</p> <p>In four-week use of DJT, no renal tubular damage, no severe incidences of AEs and adverse drug reactions (ADRs) were observed. The present study obtained safety data from active surveillance of DJT.</p

Class Consciousness in Jacobean Female Writing Tradition: Aemilia Lanyer's Sense of Self in "The Description of Cooke-Ham"

Like most of the literary figures in her times, Aemilia Lanyer's poetic career is contingent upon the Jacobean patronage system, which preceded the publishing industry to serve as the material condition for the production of literary works. In returning the favor of their patrons, poets express their gratitude through writing dedicatory poetry. The genre, however, is marked by an innate tension between the poets' assertion of their writing authority and their vindication of their patron's social and political supremacy. Lanyer's "The Description of Cooke-ham," in its female rendition of the genre of dedicatory poetry as well as that of country house poetry, reflects such tension in a female version. In this essay I explore Lanyer's appropriation and displacement of country house poetry conventions in order to establish a discursive space for a community of good women, one that is constituted by her female patrons. The female discursive space, however, is occupied by upper calss female subjects exclusively. Thus, although Lanyer asserts cognitive female subjects, she unwittingly strengthens the class hierarchy implicated in the genre. To be sure, praising the patrons guarantees her social security as a writer. Yet it also erases her class specificity as a commoner and banishes her outside the female community she helps establish. Fully aware of her dilemma in writing a dedicatory poem, Lanyer turns the poem into a battleground on which the struggle between her class/poetic consciousness and her writerly obligation to her female patrons is played out. I argue that Lanyer manages to "resolve" and suppress this contradiction through the appeasement of the fractured, disrupting, uncertain voice in the margin by means of the timely use of religious rhetoric. The "resolution" is a far cry from an effective subversion of gender and class coercion. But the daring insertion of the troubling voice of a gentlewoman in a dedicatory poem anticipates the expression of class difference at the historical juncture when female consciousness only starts to announce itself in the margin of mainstream literary scene.文學贊助制度在出版工業尚未發達的文藝復興時代，是文人文學生產的主要物質 情境。敬獻詩成為當時特有的文化產物，並蔚然成風。為了回報貴族挹助，文人書寫獻詩以 表忠誠，並間接鞏固文人的創作環境。然而敬獻詩固然是詩人稱頌貴族的文本場合，也是詩 人展現創作權威的論述領域。兩者之間的角力暗含階級衝突的張力。愛米莉雅．藍能的文學 創作，與她同時的詩人一樣，需仰賴貴族仕女的贊助。藍能挪用與移置敬獻詩中的次文類鄉 村莊園詩的書寫成規以呈現一以貴族仕女為首的女性社群，復插入一邊緣聲音以表達詩人之 階級焦慮。本文旨在探討藍能《庫恆描寫》一詩中女性意識與階級意識的衝突及其對應的詩 文佈局。藍能雖暫時化解她的階級焦慮卻無助於階級平等。然而藍能的詩在宣揚--女性意識 與主體的同時，復能表達內在於性別的階級問題，為後代平民婦女書寫與呈現中產階級女性 主體的先聲

U.S. Imperialist Cultures and the Other Asian/America- Gender, Sex, Race and Empire in Filipino American Literature (II-III)

美國帝國主義文化與另類亞美文學研究：菲美文學中的性(別)、種族與帝國私領域的性(別)關係與公領域的種族權力宰制之間的複雜連結，一直是後殖民研究的重要議題及方法，在亞美文學研究的範疇內，這個研究方向隨著艾美‧卡普蘭(Amy Kaplan)所倡議的美國帝國主義研究的興起，以及安‧羅拉‧史托樂的(Ann Laura Stoler)「帝國親密」論述而漸漸受到矚目。本計畫試圖從亞美研究的帝國面向切入，探討菲裔美國文學的性別、性意識、種族形塑與帝國的內在治理之間的糾葛，並進一步討論菲裔美國特殊的殖民歷史背景如何生產出菲裔移民的身體、情慾、情動力。將亞美研究所挑戰的國家重新定義為帝國，可以拓展國家想像的空間，使得域外國境(extranational territory)在域外與域內的曖昧重疊裡，成為揭露帝國治理與移民管束互為文本的最佳地點，帝國治理技術將菲裔移民治理放在殖民者與被殖民者的文化邂逅場景(cultural contact zone)，移植殖民者對菲律賓土地∕身體的文化製碼，重置於移民法，作為種族管理的基礎文法。二十世紀中期的帝國移民治理，一方面嚴格監控菲裔移民與白人女子的異族通婚，一方面透過大蕭條時期性產業的興起，將其慾望模式、家庭需求及社群歸屬拆散重組，導向性的商業交易，而後在大眾文化論述生產出性慾超載(hypersexual)的菲律賓族裔身體，而私領域身體的過度顯形，則導向公領域族裔主體的集體隱形。這些帝國生物權力在私領域的細膩治理，關係到特定族群是否有法定資源可以聲言美國的公領域歸屬。除了探討公領域權力的幽微管理路徑，本研究更關心的是，通過歷史的創傷生產出來的族裔性(別)身體，如何在進入殖民知識∕權力所生產的情慾模式裡，反寫其慾望組構，拆解資本慾望、國家認同與情慾的纏缚，使慾、情鍊結，因情而能動，由情動力而迴向族裔能動力。本連續性計畫的第一年(98/08-99/07)以Carols Bulosan的小說America Is in My Heart(1943)為主要研究文本，探討上世紀40年代美國社會對菲裔移工的身體監控與勞力剝削，如何透過帝國親密的微形權力來進行 (詳細研究成果請參閱C012-1第二部分上年度計畫執行說明) 。下兩年度的計畫將以Han Ong的小說Fixer Chao與 Jessica Hagedorn 的 Dogeaters, 及Dream Jungle 為研究文本，針對小說所呈現的異性戀異族親密、同性戀異族親密、跨族裔的異∕同性親密，以及其背後的帝國生命政治、和大眾文化想像進行探討。以下概述各年的主要研究主題:第一年: 酷兒離散與動情模仿：王瀚的《風水大師》(Han Ong, Fixer Chao. 2001)描寫一個菲裔街頭男妓偽裝成華裔風水大師，對紐約上流社會所代表的族裔階級意識形態進行報復。有趣的是，本書中不管是風水大師或上流社會生活，幾乎都是不具顛覆力的「模仿」的結果，針對本書的「模仿」議題，已經有批評家討論過，本計畫有興趣的是，族裔或階級模仿(包括情慾模式、情感結構、家庭組構、家庭佈置等)如何可以被解讀為帝國生物權力治理的產物，而被視為病態的跨族裔同性親密，是否可以在重複與差異的演示之餘，發展出某種具顛覆力的情動力。第二年：帝國親密、資本慾望與國家認同：潔西卡‧海格彤的兩部小說《吃狗肉的人》(Dogeaters)和《夢叢林》(Dream Jungle)都以冷戰時期的美菲戰略關係為背景，在兩部小說的複雜情節經緯裡，各有一段帝國(白人∕亞裔)親密關係，《狗肉》的混血同志喬依與德國導演雷納及《叢林》的麗娜與美國演員穆迪，本文擬將兩段異族親密放在當時的政經歷史情境，討論冷戰時期東亞的性帝國圖誌，以及族裔主體與既定異國情慾文本的斡旋。The U.S. Imperialist Cultures and the Other Asian/America:Gender, Sex, Race, and Empire in Filipino American LiteratureThe complicated connections between the governmentality of gender and sex in the private sphere and the racial formation in the public sphere have been an important issue and a provocative method of research in the field of postcolonial studies. With Amy Kaplan's promotion of the study of American imperialism and the growing influence of Ann Laura Stoler's theorization of the “imperial intimacy,” Asian American cultural and literary studies have increasingly turned to and benefited from these compelling new insights. This two-year project intends to trace the relationality between gender, sex, and racial formation as shown in Filipino American literature by exploring the history of U.S. imperial governmentality. More importantly, through an exploration of the history of U.S. imperial colonization of the Philippines, this project strives to understand the way in which imperialist biopolitics produces specific modes of desire, bodies, sensibility, and affect on the part of the postcolonial Filipino immigrants. The Philippines is understood as an extranational territory whose existence pushes the boundaries of America's national imagination to reveal the nation's imperial enterprise—a fact that has been concealed and forgotten. In the extranational territory, immigrant laws and imperialist techniques of governmentality are in a relation of mutual writing. The cultural encodings of the colonized's lands / bodies in the cultural contact zone have been transplanted to the scenarios of immigrant laws to serve as the basic grammar for racial surveillance. In the mid-twentieth century, American empire protects its racial hierarchy through the passing of antimiscegenation laws, forbidding White-Asian/Filipino marriage. Lacking proper mates to establish homes and communities, the Filipino workers were forced to find temporary sexual release in commercial sexual providers, which in turn strengthens the image of the hypersexual Filipino bodies in public imagination. As a consequence, the over-exposed private bodies lead to the invisibility of the collective ethnic subjectivity. These subtle biopolitical managements in the private sphere are crucial to obstruct a specific ethnic group's legitimacy to claim the nation and forge a sense of national belonging in the public sphere. Other than tracing the complicated routes of biopolitical governmentality, this project is especially interested in understanding the ways in which ethnic, sexualized subjects, as they are produced by the historical trauma of imperialist governmentality, reconfigure their structures of feelings and modes of desire, to achieve a certain kind of affect that is able to disrupt capitalist desire, and racialized constitution of American nationality. I will read Han Ong's Fixer Chao and Jessica Hagedorn's Dogeaters and Dream Jungle in light of interracial intimacy on both heterosexual level and homosexual level, and explore the imperial biopolitics and public imagination that are responsible for their production.The first year: Queer diaspora and affective mimicryIn Han Ong's Fixer Chao (2001), a Filipino street hustler and gay prostitute disguises as a Feng Shui master to take revenge on the New York upper crust. Interestingly, both the Feng Shui master and the upper class life of the New Yorkers are the results of non-subversive mimicry. I attempt to read these failed acts of mimicry of ethnic and cultural life—including the mimicry of modes of desire, structure of feelings, family structure, and domestic design-- as the product of imperialist biopolitical management. The affective exchange between the protagonist and the Japanese American character, Kando, seems to offer a same-sex interracial intimacy that, through repetitive and differential performance, can be read as a subversive affect. The second year: Imperial intimacy, capitalist desire, and national belongingsBoth set in Cold-War era, Jessica Hagedorn's Dogeaters and Dream Jungle provide two cases of imperial intimacy. In Dogeaters Joey Sand, the bastard son of a Filipino prostitute and a black American GI, is involved sexually with a German director; in Dream Jungle Rizalina Cayabyab, a housemaid of the protagonist, is romantically involved with the American actor Vincent Moody. I will place these two cases of imperial intimacy in the historical context of the East Asian sexual empire and examine the characters' negotiation and contests with the imperialist cultural inscription which overdetermines their sexuality and modes of desire

Globalization and the Emergent Representations of Asia-Pacific

本二年計劃接續95年研究計畫，取徑亞美文學的跨國想像及跨國書寫，來探究新興的亞太再現形式。本計劃認為此新興的再現形式同時包含對西方現代化以來盛行的歐美亞太論述的批判，對西方輿圖學知識論的反思，以及對亞太概念的重寫。而不論是反思、批判或重寫，當代作家對現存的區域再現形式的揭露與批判，以及新興的亞太區域型構的文本勾勒，有助於吾人從微觀地理如城市、邊界、家庭、公共空間等角度，去瞭解全球化資本邏輯、空間再現政治、認知繪圖、文化生產、及居民之間的關聯。就批判及反省現存的歐美亞太論述的層面來看，本計畫分從三個方向來研究：一、探討十九世紀以前舊式歐美亞太論述興起的政經文化成因。二、理解歐美亞太論述的基本結構，及資本邏輯、文化生產及空間再現之間的關係。三、剖析亞太多重現代性的內涵。通過對當代跨國文化的研究，理解舊式的亞太論述如何隱身於日常生活的論述經緯之中，通過後現代影視、大眾文化、消費主義及觀光文化，而形成文化潛意識，繼續操縱霸權文化的區域想像。就構建新興的亞太區域(region)論述而言，本計劃擬從地區居民(the inhabitants of the area)及跨國亞裔主體的角度，去觀察此新興論述的形成，特別強調新興的亞太區域想像，並非由亞太各國歷史的總合，或是共同亞太價值的匯聚所形成，而是跨國主體在微觀的文化生產定點，透過對資本邏輯、空間再現及文化生產的另類解讀，與現存的亞太想像進行對抗的結果。換言之，新的區域再現的策略並不在於恢復失去的(再現)領域，而在於發現新的主體、空間、資本、與文化生產的連結方式。第一年(2007/8-2008/7)以日美作家Karen Tei Yamashita 的Tropic of Orange 和日裔夏威夷作家Lois Ann Yamanaka 的Blu』s Hanging等作品為對象，來討論亞太論述內在的矛盾、城市空間與都會下層人民的另類亞太想像等議題。Tropic of Orange從各個充滿衝突與張力的城市角落去看洛杉磯市，試圖超越美國大眾文化想像與國家論述，將洛杉磯重劃為亞太之城，而亞裔移民進行的城市與區域的另類繪圖、可以與單一亞太論述相抗衡。Yamanaka 小說描述的日裔移民在夏威夷的處境，則試圖重寫亞太的島嶼天堂論述。Yamashita 和Yamanaka重新連結資本、空間再現、人、與文化生產的關係，為新興的亞太論述提供一個思考的起點。第二年(2008/8-2009/7)計畫以菲律賓為例，通過菲裔美籍作家Jessica Hagedorn Dream Jungle一書的閱讀，思考舊式西班牙殖民與當代美國新文化殖民所形成的亞太多重現代性，如何在論述、影像及物質的層面形成一種傅柯所謂的生物權力(biopower)，透過日常生活的消費，從內在來監控並形塑當代菲籍或菲裔移民的跨國身體。而後現代亞太論述的資本邏輯將亞太區域化為可被消費的商品，導致一個同質的亞太地理影像及想像，也在菲裔新秀作家Han Ong的Fixer Chao 小說中遭到挑戰