华文大众文化中的拉子身影——系列演讲
主讲人：马嘉兰 Fran Martin（澳洲墨尔本大学）
Dr
Fran Martin (马嘉兰) is Lecturer in Cultural Studies at The
University of Melbourne, Australia. She has published widely on media and popular
culture in contemporary Taiwan, and is author of Situating Sexualities: Queer
Representation in Taiwanese Fiction, Film and Public Culture (Hong Kong
University Press, 2003; currently being translated into Chinese), translator of
Angelwings: Contemporary Queer Fiction from Taiwan (Hawai’i University Press, 2003), and co-editor with Chris
Berry and Audrey Yue of Mobile Cultures: New Media
and Queer Asia (Duke University Press, 2003). Her current research project, on which
this series of papers is based, investigates lesbian representation in the
transnational Chinese popular cultures that span
主办单位：
台湾联合大学系统文化研究跨校学程
中央大学英美语文学系
交通大学社会与文化研究所
清华大学亚太／文化研究室
演讲资讯联络人：
中央—陈采锳tychen@cc.ncu.edu.tw
交大—林郁晔yylin@mail.nctu.edu.tw
清大—苏淑冠apcs@my.nthu.edu.tw
第一场：
Backward Glances:
Chinese Popular Cultures and the Lesbian Imaginary
在成为你的回忆之前：中文大众文化中的女同性恋想像
时间：2005年3月29日10：30
地点：中央大学文学院大讲堂
主办单位：中央大学英美语文学系
相较于欧美常以视觉（幽灵甚至隐形）来再现女同性恋，马嘉兰博士认为在中文大众文化里，却是以时间（回忆）来隐喻女女之间的关系。
This paper proposed that the dominant
modern Chinese mode of lesbian representation has been analeptic: loving
relations between women have been represented as occupying a past time,
existing in the present strictly in the form of memory. The most influential
theory of Western lesbian representation proposes that in Euro-American
modernity, the lesbian has been represented as ghostly or invisible, following
a visual metaphor. In contrast, I argue that the dominant metaphor in modern
Chinese representations of lesbian relations has been a temporal one: in a
majority of mainstream Chinese literary, filmic and other cultural production
since the early twentieth century, loving relations between women have been
represented as temporally anterior to the narrative present. More specifically, I argued that representations of this figure have
drawn on the affective, narrative and generic structures of heterosexual tragic
romance (tragic because ultimately unfulfilled, with the lovers being separated
by social forces beyond their control). To illustrate this argument the paper discussed
literary texts including Lu Yin’s《丽石的日记》 (1923) and Chu T’ien-hsin’s
《浪淘沙》 – texts which I proposed illustrate that the memorial mode has critical, as
well as simply regulatory, functions.
第二场：
Tomboy Melodrama and Schoolgirl Romance: A Mass-cultural Queer Love
Story
T通俗剧与女学生罗曼史：一则大众文化式的酷儿爱情故事
时间：2005年4月20日14：00—17:00
地点：交通大学人社二馆106研讨室
主办单位：交通大学社会与文化研究所
在这次演讲中，马嘉兰博士主要处理的是在现代中文大众文化中，T文本的再现以及T的情感结构和叙事是如何被呈现
While the first paper in this series focussed on the representation of the normatively feminine,
same-sex attracted young woman in selected modern Chinese literary texts, this
paper focuses on modern Chinese mass-cultural representations of the lesbian
tomboy (T). A central question that I will address in this paper is: what has
been the most common mode through which the tomboy has been represented; which
kinds of affective, narrative and generic structures has her representation
tended to draw upon? How, if at all, do these forms of representation differ
from those that structure the cultural appearance of the conventionally
feminine “memorial lesbian,” and what do such differences reflect about the ideological
structuration of both gender and sexuality in this
context? My main proposal in response to the first of these questions will be
that in popular representations since the 1970s, the figure of the tomboy has
tended to be represented in a melodramatic mode. I am especially interested in
the way in which the “T texts” I will discuss draw upon the affective,
narrative and generic structures of melodrama defined as a mode that is
centrally concerned with “moral legibility” (in Linda Williams’ phrase) and the
representation suffering virtue. The paper first attempts to flesh out a theory
of modern and contemporary Chinese tomboy representation by means of three
texts: Yu Dafu’s
story 《她是一个弱女子》
(1932), Xuan Xiaofo’s
novel 《圆之外》 (1976) and TTV’s
television adaptation of Du Xiulan’s
novel, 《逆女》 (2000). The final part of the paper turns
to two recent Public Television Service telemovies, 《童女之舞》 and 《那年夏天的浪声》 (2002), and tries to read these
schoolgirl-romance films in dialogue with, or as a kind of symbolic response
to, the mode of tomboy representation that I outline in the first part of the
paper.
第三场：
Critical presentism: New Chinese Lesbian Cinema
过去过去一直来：新华文拉子电影
时间：2005年5月13日12：00—14:00
地点：清华大学人文社会科学院人社院C310会议室
主办单位：清华大学亚太／文化研究室
协办单位：清华大学性别与社会研究室
藉由《今年夏天》与《蝴蝶》等极具女同志观点的影像再现，马嘉兰博士将论证这些电影挑战并且突破了既往以回忆作为女同志叙事的结构困境。
This paper focuses on the rise of Chinese
lesbian film and video since the 1990s. Although recent research suggests that
older genres of Chinese-language cinema such as the 黄梅opera
film have enabled modes of lesbian and queer spectatorial
pleasure in the past, it is only relatively recently that the lesbian subject
has begun to be treated directly and seriously by young directors. This paper
begins with a brief survey of recent Chinese lesbian-themed films before moving
on to focus more closely on discussion of two recent films: 《今年夏天》(Li
Yu, China, 2001––the first ever lesbian-themed feature film to come out of the
People’s Republic), and 《蝴蝶》(Yan Yan Mak, Hong Kong, 2004).
Influential analyses of American film, both during and after the Production
Code era, have presumed as central a visual logic of lesbian representation (ie: visible vs. invisible lesbians; voyeuristic vs.
anti-voyeuristic images). In contrast, in the context of the broad cultural dominance
of the memorial mode in modern Chinese lesbian representation, this chapter
demonstrates the importance of asking questions about temporal logic in the
Chinese-language films under discussion. This focus reveals that these recent
films––made at a time when organised lesbian
movements had been active in