政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/105063
English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  Items with full text/Total items : 112878/143845 (78%)
Visitors : 49995888      Online Users : 766
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
    •  Adv. Search
    Home ‧ Login ‧ Upload ‧ Help ‧ About ‧ Administer Goto mobile version


    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/105063


    Title: 另一種群眾想像：現代性與殖民時期的劇場
    Authors: 汪俊彥
    Wang, Chun-Yen
    Keywords: 殖民現代性;戲曲;現代戲劇;群眾;聚眾
    Date: 2013-06
    Issue Date: 2016-12-19 11:30:54 (UTC+8)
    Abstract: 本文試著以日本殖民台灣時期二○年代前後，在殖民結構下卻超越殖民現代性的劇場觀眾，理解一種尚未正式命名，而本文稱之為「聚眾」的另一種群眾想像，並藉此提出殖民現代性與歷史主義在目前處理殖民文學的知識學與認同問題上的盲點。本文想要透過當時劇場（尤其是白字戲與歌仔戲）的觀眾，對照殖民政權與被殖民知識分子對於人民與群眾的論述與想像，思考當時劇場如何有別於傳統對於戲曲的認識，呈現出另一種不同於殖民現代性的人民／群眾面貌。本文認為對於聚眾的理解，一方面有助於我們歷史化（historicize）戲曲，重新認識長期被視為自成系統的美學和去政治（apolitical）表演，另外一方面，也有助於我們檢視所謂「傳統戲曲」與「現代戲劇」之間知識學的（epistemological）鴻溝。
    This paper aims to articulate a historical imagination of the multitude, which is yet to be named in scholarship, by looking at local performances of theater during the Japanese colonial period of Taiwan in the 1920s. The paper argues that the multitude who can be found in the local performances exceed the discourse of colonial modernity by looking into the problematic of colonial modernity and historicism. Audiences of Baizixi and Gezaixi serve an example of the multitude that represents different significance from the concepts of“people” or “the masses” under the imagination of modernity of the colonial regime or the colonized intellectuals. This paper argues that the re-articulation of the multitude helps historicize xiqu (Chinese music drama) by re-examining the drama that used to be seen as a particular and apolitical form of aesthetics. It also helps challenge the epistemological rupture between xiqu and xiju (modern drama).
    Relation: 臺灣文學學報,22,111-152
    Data Type: article
    Appears in Collections:[Bulletin of Taiwanese Literature] Journal Articles

    Files in This Item:

    File Description SizeFormat
    22-111-152.pdf2572KbAdobe PDF21132View/Open


    All items in 政大典藏 are protected by copyright, with all rights reserved.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback