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[商品主貨號] U102189924
[ISBN-13碼] 9789860354133
[ISBN] 9860354138
[作者] Jeremy Fernando、Timothy R. Fox、Bennett Yu-Hsiang Fu等
[出版社] 國立臺灣大學出版中心
[出版日期] 2013/01/25
[內容簡介] (出版商制式文字, 不論標題或內容簡介是否有標示, 請都以『沒有附件、沒有贈品』為參考。)
Taiwan’s status as an island surrounded by powerful nation states has forced upon it a history of permeable borders and an ever fluctuating cultural subjectivity. Originally inhabited by Austronesian tribal peoples, the island has over the centuries fallen under the political, economic, and cultural influences of the Spanish, Dutch, Japanese, and Chinese occupiers. Globalization has further transformed and complicated Taiwan’s vistas of political reforms, cultural productions, and ethnic re-composition. Such gradual but radical transformation has, in countless ways, encouraged the nation-state identity and identification to vacillate between insularism and globalization. This collection is an example of the multitude of voices that speak for Taiwan. These selected essays, contributed by scholars from different countries (Canada, Hong Kong, Singapore, Taiwan, UK, and USA), engage with the debates on Taiwan’s identity and nationhood while also attempting to step beyond the nationalistic frame. Whereas the openness to new ideas may alter our perspectives, this collection reminds us to embrace external influences without forgetting to celebrate our unbroken, unique historical legacy.
書摘1
Transcending Intellectual Boundaries: The Lyrical Phenomena of Fang Wen Shan (excerpt)
Lim Lee Ching
As a cultural and political entity, the Taiwanese story is one whose narrative is constructed by a central paradox—one that is immediately schismatic and simultaneously bound by its relationship with Mainland China. To the extent that even in the realm of domestic, municipal politics, the Taiwanese public consciousness is held in persistent suspension over its relationship with the Mainland—cast as it often is in absolute terms—it might be possible to suggest that a popular cultural gesture has as much potential to unify this collective psyche as to divide it. And, in many ways, the history of Chinese popular music can be seen to perform this strange paradox as an enactment of the history of Taiwan itself.
Of the three primary channels of popular culture, it is popular music that best conveys the identifiable aspects of Chinese culture and acts as a conduit for its diaspora. It can also be kept on a kind of parity with—though not necessarily counter to—the globalized influence of established Western, Anglophone popular culture. The nature of the popular musical form lends itself best to transmission on any scale, especially in an age of digital reproductivity. This involves even appropriating the visual media, such as television, film, music, and karaoke videos, for an even more comprehensive trajectory of transmission. By its form, I mean here the system of construction, compactness, accessibility, (relative) ease of production, and consumption. Since it is reliant on the lyrical form for quick comprehensibility, popular music is in many ways also the most immediately literary among the popular arts—although the level at which such literary appeal engages the consumer can be debatable.
書摘2
Transcending Intellectual Boundaries: The Lyrical Phenomena of Fang Wen Shan (excerpt)
Lim Lee Ching
As a cultural and political entity, the Taiwanese story is one whose narrative is constructed by a central paradox—one that is immediately schismatic and simultaneously bound by its relationship with Mainland China. To the extent that even in the realm of domestic, municipal politics, the Taiwanese public consciousness is held in persistent suspension over its relationship with the Mainland—cast as it often is in absolute terms—it might be possible to suggest that a popular cultural gesture has as much potential to unify this collective psyche as to divide it. And, in many ways, the history of Chinese popular music can be seen to perform this strange paradox as an enactment of the history of Taiwan itself.
Of the three primary channels of popular culture, it is popular music that best conveys the identifiable aspects of Chinese culture and acts as a conduit for its diaspora. It can also be kept on a kind of parity with—though not necessarily counter to—the globalized influence of established Western, Anglophone popular culture. The nature of the popular musical form lends itself best to transmission on any scale, especially in an age of digital reproductivity. This involves even appropriating the visual media, such as television, film, music, and karaoke videos, for an even more comprehensive trajectory of transmission. By its form, I mean here the system of construction, compactness, accessibility, (relative) ease of production, and consumption. Since it is reliant on the lyrical form for quick comprehensibility, popular music is in many ways also the most immediately literary among the popular arts—although the level at which such literary appeal engages the consumer can be debatable.
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