行政院國家科學委員會補助專題研究計畫成果報告 （（（結案完整（結案完整結案完整報告報告報告報告））））
計畫名稱計畫名稱：從時「差」到時「間」: 童妮‧摩里森的小說時間 計畫類別計畫類別：：：：一般型研究計畫 (個別型 ) 計畫編號計畫編號：：：：NSC 97-2410-H-003 -116 -MY3 執行期間執行期間：：：：97 年 08 月 01 日至 101 年 7 月 31 日 計畫主持人計畫主持人：：：：李秀娟 執行單位執行單位：：：：國立臺灣師範大學英語學系 日期日期日期：日期 ：：：中華民國 101 年 10 月 26 日
一一一、一、、、 研究內容概述 本計畫以時間理論與摩里森小說為兩大研究主軸。除了鑽研美國當代女作家童妮．摩里 森的著作，深究其作品時間結構，也鑽研當代文學與文化理論中的時間論述，特別是由 精神分析論述所發展出的時間架構與創傷理論中的時間，並將之與個人近年來一直在進 行之亞美文學、美國族裔文學與電影研究結合。以下的研究成果，包括了個人四年來在 摩里森研究、時間理論、與更廣泛之美國族裔文學研究領域所發表之主要期刊論文、演 講、與研討會論文。
二、已出版已出版 /發表發表發表研究成果目發表 研究成果目研究成果目錄錄錄錄
A. 期刊論文 1. Lee, Hsiu-chuan. “Historical Distance and Textual Intimacy: How Newness Enters Toni Morrison’s A Mercy .” Concentric: Literary and Cultural Studies 37.2 (2011): 135-155. (THCI-Core). 2. 李秀娟 。<從觀影「快」感到創傷時延：史考特．希克斯《雪落香杉》中的 時間倫理 >。。。《英美文學評論》。 19 (2011): 1-28 。(THCI-Core) 3. 李秀娟。<歷史記憶與創傷時間：敘述日裔美國遷徙營 >。《中外文學》41.1 (2012): 7-43 。(THCI-Core) 4. Lee, Hsiu-chuan. “The Remains of Empire and the ‘Purloined’ Philippines: Jessica Hagedorn’s Dream Jungle.” Mosaic: A Journal for the Interdisciplinary Study of Literature 45.3 (Sept. 2012): 49-64. (A&HCI)
B. 演講 1. “The Other of History and the Future of Time: Toni Morrison as a Case.” 台師大 英語系 Brown Bag Series. Taipei: NTNU, Nov. 23, 2010. 2. 〈文字與世界的相遇：從《一種慈悲》看童妮‧摩里森的文學歷程〉。國立台 灣師範大學文化沙龍系列演講之五。希臘左巴師大店：Sept. 17, 2011 。 3. 〈記憶的三種方法：童妮‧摩里森《蘇拉》裡的自我、種族、與愛情〉。年 國立台灣師範大學文化沙龍系列演講之六。希臘左巴師大店：Sept. 21, 2011 。 4. “Living on through Traumatic Time: A Post-9/11 Rethinking on Japanese American Internment.” 九一一、巴特勒和生命政治研讀會。台南：成功大學，
Lee 2/2
Dec. 21, 2011 。
C. 研討會論文 1. “Nation in Temporalities: Popular Documentary Photography on the Japanese American Internment” Paper delivered at the international conference on “Persecptives on Migraiton, Nationalhood, and Ethnicity,” National Sun-Yat-sen University, Kaohsiung, Taiwan, Nov. 8-9, 2008. 2. Lee, Hsiu-chuan. “National Impossible: The “Purloined” Philippines in Jessica Hagedorn’s Dream Jungle .” Paper delivered at 2009 Association for Asian American Studies Annual Meeting, Hawaii, USA. April 22-26, 2009. 3. Lee, Hsiu-chuan. “Japanese Colonial Legacy and the Rhythmic Everyday: Music, Time, and History in Cape No. 7 .” Paper delivered at the 16th NATSA Annual Conference, University of California at Berkeley, Berkeley, USA. April 18-20, 2010. 4. Lee, Hsiu-chuan. “Belated Memory as Palimpsests: Trauma and History in Snow Falling on Cedar .” Paper delivered at the 64th Annual RMMLA Convention, Albuquerque, New Mexico, USA. October 14-16, 2010. 5. Lee, Hsiu-chuan. “An Encounter of World and Letters: The Future of Time in Toni Morrison’s A Mercy .” Paper delivered at the Sixth Biennial Conference of the Toni Morrison Society, Paris, France. Nov 4-7, 2010. 6. Lee, Hsiu-chuan. “Racial Memories in Baseball Diamond: From the American Wartime to American Pastime .” Delivered at “War Memories: The Third International Conference on Asian British and Asian American Literatures,” Academia Sinica, Taipei, Taiwan. Dec. 9-10, 2011. 7. Lee, Hsiu-chuan. “‘Trafficking in Seeds’: War Bride, Biopower, and Asian American Subjectivity in Ruth Ozeki’s All over Creation .” Delivered at the 2012 Association for Asian American Studies Conference, Washington D.C., USA. April 11-14, 2012. 8. Lee, Hsiu-chuan. “Asian America in Asia/America Distance and Transference: Asian American Studies in Taiwan.” Delivered at “Ethnic Literatures and Transnationalism: 2012 MELUS/USACLALS Conference,” San Jose, USA. April 19-22, 2012. 9. 李秀娟。〈「歐美」與「我們」之間：從亞美研究看美 -亞的距離與傳會〉。 發表於「我們的『歐美』：文本、裡論、問題研討會」。台北：中央研究院 歐美所。 10. Lee, Hsiu-chuan. “‘Posthumous Shock’: Time and Histroy in the Photographic Representations of Japanese American Internment.” Delivered at the Eighth Biennial MESEA Conference: “Media and Mediatate Performances of Ethnicity.” Barcelona: Blanquerna School of Communication, Ramon Llull University, June 13-16, 2012.
三三三、三、、、詳細研究內容詳細研究內容詳細研究內容：：：：期刊論文全文期刊論文全文 (共四篇共四篇，，，，依上列篇目順序排列依上列篇目順序排列 ) (註註註：註：：：出國發表之出國發表之出國發表之研討會論文全文附於各年度出國移地研究與研討會論文全文附於各年度出國移地研究與 參加國際研討會之心得報告 )
2 Concentric: Literary and Cultural Studies 37.2 September 2011: 135-155
Historical Distance and Textual Intimacy: How Newness Enters !"#$ %"&&$'"#R' A Mercy
Hsiu-chuan Lee Department of English National Taiwan Normal University, Taiwan
Abstract !"#$ %!&&#'!"R'$ A Mercy (2008) encourages a meditation $ !"$ )#*+&,*-&+R'$ interacti !"$.#*/$/#'*!&01$2!3-'#"4$!"$*/+$.,0$#"$./#3/$O"!6+)$*#7+P$!9+&,*+'$ here to challenge the serial, diachronic conception of history, I seek in A Mercy a space to negotiate the historical distance between periods, events, and peoples. The shifting tenses of narrating voices introduced by the novel, along with the linkages that memories create between times, prompt the spreading-out of seventeenth-century American history into a textual network of elastic ligaments and a kind of dialogism. Moreover, challenging the logic of ethnic division and racial segregation, A Mercy elucidates the proximity of different races in early American history. It enacts cross-color intimacy as a new way of conceiving the origins of American culture. %!&&#'!"R'$ .&#*#"4$ about history in A Mercy is not simply a return to the past or a retrieval of the repressed. By evoking a lost age and digging out from what has disappeared logics and ideas that resist existent historical lines and racial categorizations, the novel fosters in its textual present an intermediary agency for negotiating the structure of history, thereby ushering in new historical epistemes.
Keywords Toni Morrison, A Mercy , history, textuality, time, race, intimacy
$:$'/!&*$;&,<*$!<$*/#'$9,9+&$.,'$9&+'+"*+;$,*$O !"#$%!&&#'!"$,";$=#&3-#*'$!<$*/+$>7,4#",*#!"?$ /+$@#A*/$B#+""#,)$=!"<+&+"3+$!<$*/+$ !"#$%!&&#'!"$@!3#+*0CP$/+);$#"$D,ris, 4-7 November 2010. I benefited greatly from the responses of audience members. I am also grateful to Guy Beauregard and Wen-ching Ho for their reading, advice, and support. 136 Concentric 37.2 September 2011
!"#$%!&&#'!"R'$"#"*/$"!6+)$A Mercy (2008) opens with its teenage heroine Florens rushing into the woods in search of a freed black man Nan unnamed blacksmith Npresumably possessing a cure for both her bedridden mistress and her own lovesick heart. Looking for paths through the dangerous wilderness, she exclaims $,*$!"+$9!#"*$!"$/+&$F!-&"+0?$O>$,7$/,990$*/+$.!&);$#'$G&+,H#"4$!9+"$
[A]s Morrison moves deeper into a more visionary realism, a betranced pessimism saps her plots of the urgency that hope imparts *!$/-7,"$,;6+"*-&+'1$O:$%+&30P$G+4#"'$./+&+$#*$+";'C$.#*/$,$./#*+$ man ca '-,))0$,"'.+&#"4$,$'),6+$7!*/+&R'$9)+,C$G-*$/+$;#+'C$,";$'/+$ <,;+'$ #"*!$ '),6+&0R'$ 70&#,;'C$ ,";$ */+$ 3/#);$ 4!+'$ 7,;$ .#*/$ )!6+1$ Varied and authoritative and frequently beautiful though the language is, it circles around a vision, both turgid and static, of a new world turning old, and poisoned from the start. Hsiu-chuan Lee 137
Given his assumption that history is linear and follows a line of succession, Updike sees this past as one doomed to be overtaken by the present. The world in A Mercy #'$#"+6#*,G)0$O*-&"#"4$!);P$,";$O9!#'!"+;$<&!7$*/+$'*,&*P$G+3,-'+$!<$*/+$'-G'+W-+"*C$ more fully-developed role of blackness as a stigma in Western history. The past is held hostage by, inflected by, and subject to our knowledge in the present. Writing ,G!-*$*/+$9,'*$#'$,33!&;#"4)0$,$O*-&4#;$,";$'*,*#3P$7!-&"#"4$*/,*$4!+'$"!./+&+1 I ,&4-+$*/,*$O9;#H+R'$&+,;#"4$9),3+'$A Mercy in the temporal prison house of /#'*!#'71$ =!"6#"3#"4$ #"$ ,$ .,0C$ #*$ "!"+*/+)+''$ #4"!&+'$ */+$ !9+&,*#!"$ !<$ O"!6+)$ *#7+P$#"$#*'$&+'#'*,"3+$*!$,";$"+4!*#,*#!"$.#*/$3/&!"!)!40.1 Although readers may assume or impose a linear time and history, and give the endpoint of the novel (or the history it speaks of) the greatest weight in their interpretation, the past in/of a novel does not disappear along with our act of reading it. The beginning of the story remains there, on a page one can (re)turn to, coexisting with the ending and any other moments in the story and thus accounting for the everlasting presence of the "!6+)R'$<#3*#!",)$*#7+'1$%!&+!6+&C$;+'9#*+$*/+$<,3*$*/,*$,$"!6+)$;&aws materials from the past, the reading act takes place in the present. When the past that is spoken of #"$ ,$ ",&&,*#6+$ *+A*$ #'$ O&+,;P$ #"$ */+$ 9&+'+"*C$ #*$ #'$ 4#6+"$ 9&+'+"3+$ ,";$ #77+;#,301$ Novels are therefore capable of annexing pasts and presents and thereby giving their rendering of the past a new life. They need not subject the past to our present-;,0$ H"!.)+;4+$ #"$ */+$ .,0$ !<$ "!&7,)$ O/#'*!&0PS$ &,*/+&C$ "!6+)'$ /,6+$ */+$ potential to enable a flow of time through the interchange of temporal points. If modern history is conceived as being composed of concrete events occurring in succession, novels endow our acts of reading with an intermediary agency capable of enacting a temporal repetition, reversal, and realignment. This paper takes A Mercy as an example to meditate !"$)#*+&,*-&+R'$#"*+&,3*#!"$ .#*/$ /#'*!&01$ B0$
1$ %!&&#'!"$ +A9&+''+;$ #"$ ,"$ #"*+&6#+.$ */,*$ '/+$ -'-,))0$
/#'*!,)$ 9+&#!;'$ !&$ +6+"*'C$ */+$ *+&7$ O/#'*!,)$ ;#'*,"3+P$ #'$ -'-,))0$ */!-4/*$ *!$ designate an objective and stable entity measureable by clock-time. In his study of the theory and genres of history, however, Mark Salber Phillips proposes a more elastic conception of historical distance:
Some degree of temporal distance is, of course, a given in historical writing, but temporal distance may be enlarged or diminished by other kinds of commitments and responses. Thus historical distance, in the fuller sense I want to give it, refers to much more than the conventional understanding that the outline of events is clarified by */+$ 9,'',4+$ !<$ *#7+C$ !&$ */,*$ */+$ /#'*!&#,"R'$ 9+&'9+3*#6+$ "+3+'',&#)0$ reflects that of his or her generation. . . . [O]ur concept of distance, if it is to be helpful, should not be limited to forms of detachment or estrangement; in its wider sense, distance must take in the impulse to establish proximity as well as separation . Distance, to put this another way, should refer to a whole dimension of our relation to the past, not to one particular location. (217; emphasis in original)
B&+,H#"4$,.,0$<&!7$,$'9,*#,)$7!;+)$*/,*$*,H+'$*/+$9,'*$,'$,$O)!3,*#!"P$.#*/$,$<#A+;$ ;#'*,"3+$<&!7$*/+$9&+'+"*C$D/#))#9'$'-44+'*'$*/,*$Otemporal distance may be enlarged !&$;#7#"#'/+;$G0$!*/+&$H#";'$!<$3!77#*7+"*'$,";$&+'9!"'+'1P$X#'$O<-))+&$'+"'+P$!<$ historical distance pushes the understanding of distance beyond objective, mechanical temporal measurements, and brings the adjustment of this distance Nadjustments of proximity and separation, intimacy and estrangement between periods, events, and peoples Nto the center of historical writing. By ,''!3#,*#"4$/#'*!,)$;#'*,"3+$.#*/$O,$./!)+$;#7+"'#!"$!<$!-&$&+),*#!"$*!$*/+$9,'*CP$ his argument not only implies that our relation to the past is flexible, but also brings to the fore the importance of negotiating this relation in the formation of histories. %!&+$ 9&+3#'+)0C$ D/#))#9'R'$ "!*#!"$ !<$ ,$ 7,))+,G)+$ /#'*!,)$ ;#'*,"3+$ &+;#&+3*'$ our attention f &!7$ /#'*!&0R'$ 3!"*+"*'$ *!$ #*'$ '*&-3*-&+1$ V/#)+$ #"W-#&#+'$ #"*!$ */+$ 3!"3&+*+$,";$9-*,*#6+)0$O,-*/+"*#3P$3!"*+"*'$!<$*/+$9,'*$/,6+$)!"4$G++"$3!"'#;+&+;$ !<$ 9,&0$ #79!&*,"3+$ #"$ /#'*!,)$ '*-;#+'C$ D/#))#9'R'$ ,",)0'#'$ +79/,'#]+'$ */+$ changeable constitution of historical times and lines. As we know, the modern West tends to organize the meaning and contents of history primarily by breaking time into periods:
Modern Western history essentially begins with differentiation Hsiu-chuan Lee 139
between the present and the past . . . . This rupture also organizes the content of history within the relations between labor and nature ; and finally, as its third form, it ubiquitously takes for granted a rift between discourse and the body (the social body). It forces the silent body to speak. It assumes a gap to exist between the silent opacity of */+$O&+,)#*0P$*/,*$#*$'++H'$*!$+A9&+''$,";$*/+$9),3+$./+&+$#*$9&!;-3+'$ its own speech, protected by the distance established between itself and its object. (de Certeau 2-3; emphasis in original)
Historical intelligibility as defined by modern Western history is thus generated not only from a temporal rupture but also from the separation of a discursive speaking 9!'#*#!"$ <&!7$ #*'$ !GF+3*$ !<$ &+9&+'+"*,*#!"1$ /+$ O&#<*PN*/+$ O;#'*,"3+P$ G+*.++"$ discourse and object Nhas to be carefully regulated and maintained so that the ;#'3!-&'+$ 3,"$ G+$ O9&!*+3*+;P$ ,";$ */+$ 7+,"#"4$ !<$ */+$ !GF+3*$ '*,G#)#]+;1$ %!;+&"$ Western history could therefore be imagined as grounded on a neatly spatialized structure that forbids unregulated temporal fluidity or random conjoining of historical moments. It features a static structure, for modern Western historians in +<<+3*$ &+9),3+;$ O,"$ ,3W-,#"*,"3+$ .#*/$ *#7+$ .#*/$ */+$ H"!.)+;4+$ !<$ what exists .#*/#"$*#7+P$I^ &,&;$%,#&+*S$W*;1$#"$;+$=+&*+,-$LRS$+79/,'#'$#"$!#",)K1$D/#))#9'R'$ emphasis on negotiable historical distance, however, challenges this logic of division and separation. It compels a different imagination of history: histories in plurality are conceived as networks of elastic ligaments and modifiable conjunctures. D/#))#9'R'$ 3!"*+"*#!"$ */-'$ &+'*!&+'$ 3!79)+A#*0$ *!$ /#'*!,)$ 9&,3*#3+'1$ >*$ ,)'!$ paves the way for comparisons and dialogues between history and a range of ",&&,*#6+'C$#"3)-;#"4$)#*+&,&0$!"+'C$*/,*$+"4,4+$.#*/$,";$7,0$O3!"*,#"P$,";`!&C$7!&+$ 9,&*#3-),&)0C$ OG+$ 3!"*,#"+;$ G0P$ /#'*!&#+'1$ D&!9!'#"4$ */+"$ */,*$ /#'*!&0$ #*'+)<$ #'$ O,$ 3)-'*+&$!<$!6+&),99#"4$,";$3!79+*#"4$4+"&+'CP$;#<<+&+"*$#"$*+&7'$!<$*/+#&$O
'#)+"3+'$*/+$9,'*$.#*/$O'3 *-&,)$*!7G'P$I;+$=+&*+,-$RKC$,*$*/+$!*/+&$+";$9+&/,9'$)#+$ novels that play on their various proximities with the past through their own fictional elasticity. A Mercy would seem, then, to help us elaborate on this issue of negotiable historical distance because in her novel Morrison has introduced provocative and intricate takes on history. Noted for her interest in the old and in the past, she has set each of her novels in a specific period of the American past. Indeed she claims */,*$,))$/+&$/!9+'$#"$/+&$3&+,*#6+$)#*+&,&0$.!&H$,&+$O#"$*/+$9,'*P$I%3=)-'H+0$aNK1$b+*$ she says this not out of a sense of nostalgia or a pessimistic belief in the impossibility of the future, nor because of her passive submission to the return of those repressed memories, those revenants, those ever-haunting pasts. On the contrary, Morrison has actively sought the future and the new in her every effort of .&#*#"4$,G!-*$*/+$9,'*1$V/+"$,'H+;$./+*/+&$O,"0$!<$0!-&$3/,&,3*+&'$4+*$,.,0$<&!7$ */+#&$9,'*CP$'/+$&+9)#+d:
>$/!9+$"!*1$Z!1$>$;!"R*$.,"*$,"0G!;0$*!$4+*$!<<$'3!*-free. I think what I want is not to reinvent the past as idyllic or to have the past as just a terrible palm or fist that pounds everybody to death, but to have happiness or growth represented in the way in which people deal with their past, which means they have to come to terms, confront it, sort it out, and then they can do that third thing. (Hackney 128-29)
/+$9,'*$#"$%!&&#'!"R'$"!6+)'$#'$"+#*/+&$,$&+<-4+$.+$7,0$&+*-&"$*!$"!&$,$/!&&!&$.+$ may escape from; it rather offers a temporal space for us to explore, one that somehow fosters $*/+$;!#"4$!<$O*/,*$*/#&;$*/#"41P$>*$#'$"!*$*/+$9,'*$#"$#*'+)<$!&$*/+$9,'*$ in its being-already-9,'*C$#*'$O9,'*$*+"'+P$*/,*$"++;'$*!$G+$&+3!6+&+;C$G-*$&,*/+&$*/+$ possibility of our own encounter with this past, our own potential confronting and dealing-with it, which may have a generative or transformative effect on our lives. Morrison spells out more clearly the permanent presence of the past in another passage:
The past for my characters, I believe, is NI was going to say more #"*#7,*+C$G-*$>$;!"R*$7+,"$#"*#7,*+1$V/0$;!"R*$.+$9-*$#*$*/#'$.,0?$>$ understand that in many African languages there is an infinite past, and very few, if any, verbs for the future, and a major string of verbs for the continuous present. So that notion of its always being now, Hsiu-chuan Lee 141
even though it is past, is what I wanted to incorporate into the text, because the past is never something you have to record, or go back to. Children can actually represent ancestors or grandmothers or 4&,";<,*/+&'1$ >*R'$ ,$ 6+&0$ )#6#"4-in-the-moment, living now with the 9,'*C$ '!$ */,*$ #*R'$ "+6+&N3,)3-),*+;S$ #*R'$ +<
Drawing on African linguistic features, Morrison explains the close connection of the past and the present in her writing. There is no need for one to travel across temporal gaps in order to reach the past as the past is already part of the present, an #"*+4&,)$ 9,&*$ !<$ !-&$ O)#6#"4-in-the-7!7+"*1P$ =-&#!-')0C$ #"$ */+$ ,G!6+$ 9,'',4+$ Morrison started to use the wor ;$O#"*#7,*+P$*!$;+'3&#G+$/+&$3/,&,3*+&'R$&+),*#!"'/#9$ *!$ */+$ 9,'*$ ,";$ */+"$ &+F+3*+;$ #*1$ O>"*#7,*+P$ #'$ 9&!G,G)0$ "!*$ */+$ /*$ .!&;$ #<$ #*$ denotes Nnarrowly Na strong emotional attachment or affectionate relationship, 4#6+"$ */,*$ !"+R'$ &+),*#!"'/#9$ .#*/$ */+$ 9,'*C$ ./#3/$ 3!-);$ 3,-'+$ O,$ 4&+,*$ ;+,)$ !<$ *&!-G)+CP$#'$<,&$7!&+$3!79)#3,*+;$*/,"$*/#'1$b+*$*/#'$%!&&#'!"#,"$')#9$!<$*/+$*!"4-+$ 7#4/*$)+,;$-'$*!$9!";+&$*/+$.#;+&$3!""!*,*#!"'$!<$*/#'$,;F+3*#6+?$O#"*#7,*+P$&+<+&'$*!$ */+$ O#"*+&#!&P$ ,";$ */+$ O#""+&7!'*CP$ /+"3+$ *!$ */e past as that which is integrally .!6+"$ .#*/$ */+$ 9&+'+"*S$ !&C$ #*$ #";#3,*+'$ O3)!'+P$ ,";$ O"+,&P$ #"$ *+&7'$ !<$ ;#'*,"3+C$ /+"3+$%!&&#'!"R'$+3/!#"4$!<$D/#))#9'R'$+79/,'#'$!"$,$7,))+,G)+$/#'*!,)$;#'*,"3+1$ B0$9!&*&,0#"4$/+&$3/,&,3*+&'R$,7G#6,)+"*$&+),*#!"'/#ps with their past, Morrison is perhaps coming to terms with the various degrees of her own intimacy with history, and/or with the various kinds and degrees of intimacy within history itself.2 %!&&#'!"R'$ 9),0$ !" historical distance finds an illustration in A Mercy . In terms of its historical setting, A Mercy traces the depth of American history farther */,"$,"0$!<$%!&&#'!"R'$9&+6#!-'$"!6+)'$#"*!$*/+$LMNN'1$ /#'$+<
2$ /+$3!"3+9*$!<$O#"*#7,*+P$!&$O#"*#7,30P$,'$+79)!0+;$#"$*/#'$9,9+&$#'$,)'!$#";+G*+;$*!$c#',$ c!.+C$./!$#;+"*#<#+'$*/&++$7+,"#"4'$!<$O#"*#7,30P?$ILK$#"*#7,30$,'$O'9,*#,)$9&!A#7#*0$!&$,;F,3+"*$ 3!""+3*#!"P$ILdTKS$IRK$#"*#7,30$,'$,''!3#,*+;$.#*/$O9,30C$!<*+"$<#4-&+;$,'$3!"F-4,)$,";$<,miliar &+),*#!"'$ #"$ */+$ G!-&4+!#'$ /!7+P$ ILdJKS$ ITK$ #"*#7,30$ ,'$ +7G!;#+;$ #"$ O*/+$ 6,&#+*0$ !<$ 3!"*,3*'$ among slaves, indentured persons, and mixed-G)!!;$<&++$9+!9)+'P$IRNRK1$%!&+$,G!-*$3&!''-racial intimacy will be discussed later. 142 Concentric 37.2 September 2011
/+,&;$ 2)!&+"'R'$ <#&'*C$ */+$ 4#&)1$ :";$ '/+$ ,99&!,3/+'$ ),"4-,4+$ #"$ , slanted way. She can read and write; she learned from a Catholic 9&#+'*$-";+&$'3,&0$3#&3-7'*,"3+'1$:";$'/+R'$*,H+"$'!7+9),3+$+)'+S$'/+$ ;!+'"R*$ H"!.$ ./,*$ */+0R&+$ *,)H#"4$ ,G!-*1$ V/+"$ '/+$ .,'$ .#*/$ /+&$ mother she spoke Portuguese. She knows Latin. So I just put all her language together and gave her an individual voice that was O>PNfirst person Nand very visual. But also, once I realized that I could make her speak only in the present tense, it gave the narrative an immediacy. . . . (Smallwood 37)
2)!&+"'R'$ /0brid linguistic upbringing reflects the geographical and cultural porosity characteristic of the world she grows up in. And as if carrying this cultural and linguistic fluidity into her narrating voice, Florens speaks in a perpetual present tense that resi '*'$*+79!&,)$;#6#'#!"'?$OP6+&0*/#"4$#'$"!.$.#*/$/+&P$I !!7+&$RLK1$A Mercy $#'$'*&-3*-&+;$'!$*/,*$2)!&+"'R'$6!#3+$,99+,&'$+6+&0$!*/+&$3/,9*+&1$>"-between her first person narratives are inserted chapters in a third-person voice in the past tense that feature '$G0$*-&"'$!*/+&$7,#"$3/,&,3*+&'R$9+&'9+3*#6+'1$ /+$'/#<*'$G+*.++"$ 9&+'+"*$ *+"'+$ ,";$ 9,'*$ *+"'+C$ 3!79)#3,*+;$ G0$ */+$ ",&&,*#6+R'$ 7!6+7+"*$ G,3H$ ,";$ $ have done and I promise to lie quietly in the dark Nweeping perhaps or occasionally seeing the blood once more Nbut I will never again unfold my limbs to rise up and ba &+$*++*/1$>$+A9),#"P$ITK1$ /+$O0!-P$*!$./!7$2)!&+"'$,;;&+''+'$/+&$",&&,*#6+$#'$*/+$ free blacksmith with whom she falls in love. Yet there is a strong suggestion she is also addressing to %!&&#'!"R'$ &+,;+&'$ ,*$ */+'+$ 7!7+"*'1$ :99,&+"*$ */&!-4/!-*$ #'$ 2)!&+"'R'$ #"*+"*#!"$ *!$ ;#&+3*$ */+$ ,**+"*#!"$ !<$ */+$ O0!-P$ <&!7$ */+$ &+,)$ .!&);$ !<$ 6#!)+"3+$,";$G)!!;C$./+&+$'/+$O-"
3 Although many critics hav +$'!-4/*$#"$%!&&#'!"R'$*+A*$7!&+$O,-*/+"*#3P$6+&'#!"'$!<$/#'*!&0$ (versus the whites-dominated version), it has to be noted that Morrison has resisted the idea that her writings make any absolute claims to truth. In her Nobel Prize reception lecture she commented on the need for language to be humble in face of historical reality. Not only must one &+3!4"#]+$*/+$<,3*$*/,*$O),"4-,4+$3,"$"+6+&$)#6+$-9$*!$)#<+$!"3+$,";$
2)!&+"'R'$W-+'*#!"$,G!-*$*/+$G),3H'7#*/R'$,G#)#*0$*!$&+,;$O*/+$)+**+&'$!<$*,)HP$ points to A Mercy R'$ 3!"3+&"$ ,G!-*$ */+$ #''-+'$ !<$ &+,;#"4$ ,";$ *+A*-,)#*01$ 2)!&+"'$ actually poses two main questions to O0!-P?$O@*&,"4+&$*/#"4'$/,99+"$,))$*/+$*#7+$ everywhere. You know. I know you know. One question is who is responsible? :"!*/+&$#'$3,"$0!-$&+,;hP$ITK1$U<$9,&0$#79!&*,"3+$#'$"!*$!")0$O./,*$/,99+"+;P$ but also whether the blacksmith can read what happened. And this question can be ;#&+3*+;$ *!$ %!&&#'!"R'$ &+,;+&'$ ,'$ .+))?$ #"$ ./,*$ .,0$ ,";$ *!$ ./,*$ +A*+"*$ /,6+$ */+$ &+,;+&'$!<$%!&&#'!"R'$*+A*$3!79&+/+";+;$*/+$/#'*!&0$!<$9&+-revolutionary America? What are the possible readings introduced through the characters in A Mercy ? Into what forms of textuality does Morrison guide her readers, and how do they change our way of approaching American history or history in general? The narratives of A Mercy , put simply, evolve around the establishment and collapse of the white tr ,;+&$i,3!G$j,,&HR'$/!-'+/!);1$:$O&,**0$!&9/,"P$,G,";!"+;$ by his family in Europe, Jacob becomes a landowner and a trader after he inherits 120 acres from a distant uncle in Milton, Virginia (12). Over time he sets up a household that develops into a makeshift home and a place of encounter for the following persons: Rebekka (a European escaping religious savagery and limited opportunity, *&,6+)#"4$*!$:7+,$#"$,"'.+&$*!$i,3!GR'$,;6+&*#'+7+"*$
Knowing full well his shortcomings as a farmer Nin fact his boredom with its confinement and routine Nhe had found commerce more to his taste. Now he fondled the idea of an even more satisfying enterprise. And the plan was as sweet as the sugar on which it was based. And there was a profound difference between the intimacy of slave bodies at Jublio and a remote labor force in Barbados. Right? Right. (35)
Jacob assuages his initial horror at the slave trade by convincing himself of the innocuousness of his investment. He attempts to comprehend the slave trade undertaken in Jublio, a plantation established by eRU&*+4, in Maryland, as distinct from the recruitment of a labor force in the geographically more remote Barbados. V/#)+$ */+$ O#"*#7,30PNthe emotional proximity and physical nearness Nbetween European settlers and the slave bodies in continental colonies is considered immoral, i,3!G$F-'*#<#+'$*/+$O&+7!*+P$*&,;#"4$,";$+A9)!#*,*#!"$!<$'),6+'$#"$*/+$V+'*$>";#+'$,'$ a separate and harmless story. A Mercy 3/,))+"4+'$i,3!GR'$&+,'!"#"4C$/!.+6+&C$G0$ bringing the two lines of history together within one (con)text. A Mercy restructures American history by playing upon the separation or connection of historical lines. Another example is its conjoining of the rise of European settlers and the ravaging of native and natural life. The epidemic disaster that nearly exterminated the native population, embodied most specifically through c#",R'$7+7!&0$!<$*/+$.#9+!-*$!<$/+&$*&#G+$G0$'7,))9!AC$#'$!"+$#"'*,"3+1$:"!*/+r is */+$ ')!.$ ;+'*&-3*#!"$ !<$ ",*-&+$ ,)!"4$ .#*/$ */+$ +A9,"'#!"$ !<$ ./#*+'R$ 9!.+&1$ Intriguingly, Jacob is introduced in A Mercy ,'$,$9+&'!"$.#*/$,$O9-)'+$!<$9#*0$
human child, not pieces of eigh *P$ILMMK1$:'$7+&3#<-)$,'$i,3!G$7,0$,*$*#7+'$,99+,&C$ /+$#'$"!"+*/+)+''$9+&3+#6+;$*!$G+$#"$6#!),*#!"$!<$",*-&+R'$),.'$./+"$/+$;+3#;+'$*!$ build his third house. Lina comments: Of*g/,*$*/#&;$,";$9&+'-7,G)0$<#",)$/!-'+$*/,*$ Sir insisted on building distorted su ")#4/*$,";$&+W-#&+;$*/+$;+,*/$!<$<#<*0$*&++'P$IaTK1$ Reading the house-building project from another perspective, Rebekka further ,**&#G-*+'$i,3!GR'$3/,"4#"4$&+),*#!"'/#9$.#*/$",*-&+$*!$/#'$9!'#*#!",)$3/,"4+'$<&!7$,$ farmer to a trader and then to a squire:
It was some time before she noticed how the tales were fewer and the gifts increasing, gifts that were becoming less practical, even whimsical. . . . Having seen come and go a glint in his eye as he unpacked these treasure so useless on a farm, she should have anticipated the day he hired men to help clear trees from a wide swath of land at the foot of a rise. A new house he was building. Something befitting not a farmer, not even a trader, but a squire. (88)
Indeed, Jacob dissociates himself not only from the land and nature but also from his servants as he ascends in class. As Lina observes, of the three houses Jacob builds, the first one NO;#&*$ <)!!&C$ 4&++"$ .!!;PNis too weak to accommodate a /!-'+/!);$IaTK1$@*&!"4$.#*/$O.!!;+"$<)!!&'CP$O
Half a dozen years ago an army of blacks, natives, whites, mulattoes Nfreedmen, slaves and indentured Nhad waged war against local ge "*&0$)+;$G0$7+7G+&'$!<$*/,*$6+&0$3),''1$V/+"$*/,*$O9+!9)+R'$ .,&P$)!'*$#*'$/!9+'$*!$*/+$/,"47,"C$*/+$.!&H$#*$/,;$;!"+$1$1$1$'9,."+;$ Hsiu-chuan Lee 147
a thicket of new laws authorizing chaos in defense of order. By eliminating manumission, gatherings, travel and bearing arms for black people only; by granting license to any white to kill any black
While tracing the birth of racism in American laws, this passage conveys a provocative message. I*$'-G*)0$3,))'$,**+"*#!"$*!$*/+$<,3*$*/,*$OG),3H$9+!9)+$!")0P$ were picked up as scapegoats in what initially was a war between classes. The color lines were drawn as a convenient legal solution to Nor a distraction from Nclass divisions. Indeed, if racial discrimination was not juridically institutionalized until Oa thicket of new laws P$ 9,''+;$ ,<*+&$ B,3!"R'$ [+G+))#!"C$ &,3#'7$ I#"$ */+$ .,0$ .+$ know it) is by no means natural or innate in the Americas. While admitting to the <,3*$*/,*$&,3#'7$,4,#"'*$G),3H'$/,'$+A#'*+;$O
<&!7P$I>"*+&6#+.$by Charlie Rose). In A Mercy C$i,3!GR'$/!-'+/!);$3!-);$G+$&+,;$,'$ a microcosm of the colonial settlement that brings people of different racial origins and cultural backgrounds together. Although the death of Jacob leaves the cross-racial community on the verge of collapse, characters in different chapters G&#"4$&+,;+&'$&+3-&&+"*)0$*!$*/+$9&+'+"3+$!<$*/+$3!77-"#*01$>"$2)!&+"'R'$",&&,*#6+C$ for example, the image of four women NLina, Rebekka, Florens, and Sorrow, each with a different skin color and O+,3/$/!);#"4$,$3!&"+&$!<$,$G),"H+*P$./+&+!"$)#+'$ i,3!GC$./!$#'$O')++9#"4$.#*/$/#'$7!-*/$.#;+$!9+"$,";$"+6+&$.,H+'P (37) Ntestifies *!$*/+'+$.!7+"R'$7-*-,)$"++;$,";$'-99!&*$!<$+,3/$!*/+&1$>"$c#",R'$3/,9*+&C$2)!&+"'C$ Rebekka, ,";$ c#",$ ,&+$ ;+'3&#G+;$ ,'$ O,$ -"#*+;$ <&!"*$ #"$ ;#'7,0P$ ./+"$ F!#"+;$ G0$ @!&&!.$IJTK1$>"$<,3*C$c#",$O/,;$<,))+"$#"$)!6+P$.#*/$2)!&+"'$/*$,.,0C$O,'$'!!"$,'$ '/+$',.$/+&$'/#6+&#"4$#"$*/+$'"!.P$IMNK1$:";$,)*/!-4/$'/+$,";$[+G+HH,$/,6+$'++"$ @!&&!.$ ,'$ O-'+)+''P$ IJT), a person who Odragged misery like a t ,#)P$ IJJKC$ */+0$ ,33+9*$ @!&&!.$ #"*!$ */+#&$ /!-'+/!);$ ,";$ ,))!.$ /+&$ *!$ O')++9$ G0$ */+$ <#&+9),3+$ ,))$ '+,'!"'P$ IJaK1$ %!&+!6+&C$ ,'$ #<$ +3/!#"4$ c#",R'$ &+7+7G&,"3+$ */,*$ */+$ #"#*#,)$ ,"#7!'#*0$G+*.++"$[+G+HH,$,";$/+&'+)<$#'$O-**+&)0$-'+)+''$#"$*/+$.#);P$,";$O;#+;$#"$ */+$.!7GP$IJTKC$[+G+HH,$#"$/+&$3/,9*+&$&+,'!"'$*/,*$Of9g+&/,9'$G+3,-'+$G!*/$.+&+$ alone without family, or because both had to please one man, or because both were /!9+)+'')0$#4"!&,"*$!<$/!.$*!$&-"$,$<,&7CP$'/+$,";$c#"a$OG+3ame what was for each ,$3!79,"#!"P$IYJK1 :7!"4$ */+$ *$#'$c#",$O./!$*!);$@!&&!.$'/+$.,'$9&+4","*P$(122), which makes Sorrow flush O.#*/$9)+,'-&+$,*$*/+$*/!-4/*$!<$,$&+,)$9+&'!"$1$1$1$4&!.#"4$#"'#;+$/+&P$ILRTK1$ Besides, the fact that Sorrow has been saved by different men through her life makes her a figure bridging genders: she is first saved by the sa .0+&R'$ '!"'$ ,";$ then Jacob after the shipwreck; the blacksmith cures her smallpox; the two white indentured laborers, Williard and Sully, further help her deliver a baby daughter. c#H+$ @!&&!.C$ V#)),&;$ ,";$ @3-))0$ '++7$ *!$ !33-90$ */+$ 7,&4#"$ !<$ i,3!GR'$ househ !);1$ b+*$ */+0$ ,&+$ '/,&9$ !G'+&6+&'$ !<$ !*/+&$ /!-'+/!);$ 7+7G+&'?$ OV#)),&;$ F-;4+;$9+!9)+$<&!7$*/+#&$!-*'#;+?$@3-))0$)!!H+;$;++9+&P$ILJLK1$>"$*/+#&$3/,9*+&C$*/+0$ 3!77+"*$!"$*/+$
.#))#"4"+''$*!$G),7+$/+&'+)<$
Europe is rarely studied in relation to the Caribbean or Latin America, and U.S. history is more often separated from studies of the larger Americas. Work in ethnic studies on comparative U.S. racial formation is still at odds with American history that disconnects the study of slavery from immigration studies of Asians and Latinos or
4 As Stein notes, A Mercy $.,'$#"#*#,))0$*#*)+;$O%+&30CP$G-*$%!&&#'!"$O3/,"4+;$#*$*!$A Mercy G+3,-'+$*/+&+$#'$!")0$!"+P$ILYdK1 150 Concentric 37.2 September 2011
that separates the history of gender, sexuality, and women from these '*-;#+'$!<$O&,3+1P$IRNa-05)
Based on the tenet of demarcation and separation, modern Western history may allow a parallel existence of different histories under the banner of multiculturalism, G-*$<,#)'$*!$+A9)!&+$O*/+$G&,#;+;$&+),*#!"'P$G+*.++"$*hem (Lowe 205). Lowe thus calls for the study of cross-racial intimacy in the formation of the Americas, with a view to teasing out the political and economic knowledge $*/,*$Omight link the Asian, African, creolized Americas to the rise of European and North American bourgeoisie $'!3#+*#+'P$IRNaK1 /+$&+)+6,"3+$!<$c!.+R'$,&4-7+"*$#"$*/+$&+,;#"4$!<$A Mercy becomes evident if we take note of the fact that Morrison has been concerned with the crisscrossing relations between people of different colors from an early point of her career onward. When editing The Black Book in the seventies as a Random House editor, she already commented on the interconnection of black and white histories. 5 In Playing in the Dark: Whiteness and the Literary Imagination (1993), Morrison +A9)!&+;$ <-&*/+&$ ,";$ #"$ 4&+,*+&$ ;+*,#)$ */+$ #79!&*,"*$ 9!'#*#!"$ !<$ O*/+$ four-hundred-year-!);$ 9&+'+"3+P$ !<$ :<,"'$ ,";$ :<,"$ :7+,"'$ #"$ */+$ formation o <$*/+$:7+,'$IJK1$%!&&#'!"R'$,&4-7+"*$is twofold. First, she suggests, it has been a misconception in terms of historical chronology to think that white people have come earlier than Africans or African Americans to the Americas. Morrison elaborates that $O,$G),3H$9!9-),*#!"$accompanied (if one can use that word) ,";$#"$7,"0$3,'+'$9&+3+;+;$*/+$./#*+$'+**)+&'P$IQK1$%!&+!6+&C$%!&&#'!"$notes that */+$G),3H$9!9-),*#!"$Ohas always had a curiously intimate and unhingingly separate existence within the dominant o "+P$ ILRK1$ c#H+$ c!.+C$ '/+$ argues $ */,*$ ,$ O9,&,))+)$ #"3)-'#!"P$!<$:<,"$:7+,"$3-)*-&+$#"*!$*/+$:7+,"$3-)*-&+$#'$#",;+W-,*+$#"$ tackling the much more complicated racial structure, which prescribes separation yet remains susceptible to intimacies across color lines. @/,&#"4$ c!.+R'$ ,**+"*#!"$ *!$ */+$ #''-+$ !<$ 3&!''-racial intimacy, Morrison nonetheless has focused her study not on the nineteenth century which Lowe investigates, but on a much earlier time, the late seventeenth century. More importantly, while Lowe draws insight mostly from historical and anthropological
5$ %!&&#'!"$'*,*+'$#"$O[+;#'3!6+&#"4$B),3H$X#'*!&0P?$O>"$'9#*+$!<$*/#'$*+";+"30$*!$/,6+$!"+$'+*$ of rules for black history and another for white history, I was, in completing the editing of The Black Book , overwhelmed with the connecting tissue between black and white history. The 3!""+3*#!"C$/!.+6+&C$.,'$"!*$,$'#79)+$!"+$!<$./#*+$!99&+''!&$,";$G),3H$6#3*#7P$Ia9). Hsiu-chuan Lee 151 evidence, Morrison has taken literary creation as a crucial site upon which to experiment with different logics of racial formation. As the work of anthropologists and historians is driven pri 7,&#)0$ G0$ ,$ &+,)#'*$ ;+'#&+$ "$ O[+;#'3!6+&#"4$ B),3H$ X#'*!&0CP$'/+$9!#"*+;$*!$*/+$9!''#G)+$6,)-+$!<$O'9+3-),*f#"4gP$,$)#"+$!<$/#'*!&0$!-*$!<$ its absence in the past:
Just as it is interesting to speculate on what Africa might have become had it been allowed to develop without the rapacity of the West, it is wondrous to speculate on what black Americans might have been had we moved along at the rate and in the direction we seemed to be going in New York in the sixteen-hundreds. During that time, the Dutch had given large tracts of land to blacks of various homelands and descriptions. (53-54)
What does the racial and cultural logic once existing in early America inspire us to think beyond the logic of ethnic division and racial segregation? >'$ )#*+&,*-&+R'$ function not to provide an imaginary grounding for exploring possibilities that have not been carried out? Instead of providing a history of affirmation, literature as Morrison urges works toward a history of speculations and possibilities. %!&&#'!"R'$9,'',4+$!"$./0$'/+$.&!*+$Beloved (1988) most vividly captures )#*+&,*-&+R'$<-"3*#!"$*!$'-77!"$#"*!$9&+sence a history of absence:
There is no place you or I can go, to think about or not think about, to summon the presences of, or recollect the absences of slaves; nothing that reminds us of the ones who made the journey and of those who did not make it. There is no suitable memorial or plaque or wreath or .,))$!&$9,&H$!&$'H0'3&,9+&$)!GG01$ /+&+R'$"!$*/&++-hundred-foot tower. There is no small bench by the road. There is not even a tree scored, an initial that I can visit or you can visit. . . . And because such a 9),3+$;!+'"R*$+A#'*$I*/,*$>$H"!.$! Literature serves as a monument commemorating a place and time that did or did 152 Concentric 37.2 September 2011 "!*$+A#'*1$>"$*/#'$.,0$#*$4+"+&,*+'$,$O*+A*-,)P$)#<+$";++;C$#'$*/#'$/!-'+-qua-text not a metaphor of Morrison R'$*+A*$ as a monument? Is A Mercy $ "!*$ ,$ O*+A*-qua-/!-'+P$ */,*$ /,'$ G++"$ 3&+,*+;$ ,'$ ,$ '-G'*#*-*+$ 6 Morrison elaborated this novel-as-/!-'+$3!79,&#'!"$#"$,"$#"*+&6#+.?$O><$0!-$.!-);$F-'*C$,'$,$ &+,;+&C$!9+"$*/+$;!!&$!&$'++$,"$!9+"$;!!&C$'*+9$#"C$,";$)!!H$,&!-";1$Z!C$0!-$;!"R*$H"!.$./!$*/#'$ #'$/*$,.,0C$"!C$0!-$;!"R*$H"!.$./!$*/,*$#'C$"!C$0!-$7,0$"ot know what that room is for. If you )#H+$#*C$0!-R))$4!$<-&*/+&1$><$0!-R&+$,<&,#;$!<$#*C$0!-R))$'*+9$!-*1$%,0G+$0!-R))$4!$G,3H$#"$),*+&$#"$ ,"!*/+&$ *#7+1$ :";$ */+"$ 7,0G+$ 0!-R))$ &-"$ ,&!-";$ */+$ ./!)+$ /!-'+$ ,";$ 4+*$ */+$ ),0$ !<$ */+$),";P$ (Silverblatt 222). Hsiu-chuan Lee 153 life enters the windows$ ,)!"4$ .#*/$ 3-**#"4$ .#";P$ ILJQK1$ /+$ ,33+9*,"3+$ !<$ O,))$ 7,""+&$ !<$ '7,))$ )#<+P$ #"*!$ !"+$ /!-'+$ G+'9+,H'$ ,$ 7+&30$ 4#6+"$ G0$ */+$ *+A*$ #*'+)<1$ Perhaps the act of mercy that Morrison means .#*/$/+&$"!6+)R'$*#*)+ is not Jacob Rs acceptance of Florens. Perhaps it is by giving American history an open memory that Morrison delivers a true mercy. >$'*,&*+;$*/#'$9,9+&$G0$3#*#"4$2)!&+"'R'$+"*&,"3+$#"*!$*/+$O"+.P$.!&);1$>*$*-&"'$ !-*$*/,*C$./#)+$2)!&+"'$O'++f'g$,$9,*/$,";$+"*+&[s] P$*/+$9&+'-7,G)0$9,*/)+''$.!!;'$ ILNMKC$%!&&#'!"R'$&+,;+&'$,&+$"!*$'#79)0$)+;$#"*!$,$&+7!*+$9,'*Nthe historical era already superseded by the development of Western modernity Nbut also guided into a textual labyrinth of times and encounters that project newness into our #7,4#",*#!"$!<$/#'*!&0R'$<-*-&+1$>"$/+&$)+3*-&+$O /+$2-*-&+$!<$ #7+?$c#*+&,*-&+$,";$ e#7#"#'/+;$PA9+3*,*#!"'P (1996), Morrison suggests $,$*-&"#"4$*!.,&;$O)#*+&,*-&+$#"$ general and narrative fic *#!"$#"$9,&*#3-),&P$#"$'+,&3/$!<$O*/+$<-*-&+$!<$*#7+P$ILYQK1$ /+$O<-*-&+$!<$*#7+P$,'$;+<#"+;$G0$%!&&#'!"$#'$"!*$+W-,)$*!$*#7+$#"$*/+$<-*-&+$I,'$ differentiated from the time of the past or that of the present). Nor does it connote a linear progress achieved through a breakage from the past. Rather, it refers to a temporal dimension that brings newness to history. Morrison makes this clear: the O<-*-&+$!<$*#7+P$G+3!7+'$,6,#),G)+$./+"$O!"+$)!!H'$*/&!-4/$/#'*!&0$"$+"3!-"*+&#"4$%!&&#'!"R'$O*+A*-,)$9&+'+"*P$,)!"4$.#*/$B/,G/,R'$O'#4"$ !<$*/+$9&+'+"*CP$.+$-"3!6+&$,$3)+,&+&$#;+,$!<$*/+$O"+.P$,'$#"'+9,&,G)+$<&!7$*/+$9,'*$ and the old, and experience its production as entangled with the negotiations with historical lines and cultural differences. Like Morrison, Bhabha looks for /#'*!&0R'$ 154 Concentric 37.2 September 2011 O#"*+&7+;#,30P$ that Oposes */+$ <-*-&+$ 1$ 1$ 1$ ,'$ ,"$ !9+"$ W-+'*#!"P$ IRTJK1$ >*$ #'$ */+$ textual present that fosters an intermediary agency to negotiate the structure of /#'*!&0$,";$-'/+&$#"$O"+."+''P$#"$/#'*!,)$+9#'*+7+'1 Works Cited B,&*/+'C$[!),";1$O /+$e#'3!-&'+$!<$X#'*!&01P$1967. The Rustle of Language . Trans. Richard Howard. Berkeley: U of California P, 1986. 127-40. B/,G/,C$X!7#1$OX!.$Z+."+''$P"*+&'$*/+$V!&);?$D!'*7!;+&"$@9,3+C$D!'*3!)!"#,)$ #7+'$,";$*/+$ &#,)'$!<$=-)*-&,)$ &,"'),*#!"1P$The Location of Culture . New York: Routledge, 1994. 212-35. de Certeau, Michel. The Writing of History . 1975. Trans. Tom Conley. New York: Columbia UP, 1988. Denard, Carolyn C., ed. Toni Morrison: Conversations . Jackson: Mississippi UP, 2008. Frykholm, Amy. Rev. of A Mercy , by Toni Morrison. Christian Century 24 Feb. 2009: 46-47. X,3H"+0C$@/+);!"1$OQ>$=!7+$<&!7$D+!9)+$V/!$@,"4$:))$*/+$ #7+R?$:$=!"6+&',*#!"$ .#*/$ !"#$%!&&#'!"1P$1996. Denard 126-38. Hooper, Brad. Rev. of A Mercy , by Toni Morrison. Booklist 1 Sept. 2008: 5. X!-'*!"C$D,71$OD,7$X!-'*!"$ ,)H'$.#*/$ !"#$%!&&#'!"1P$2005. Denard 228-59. c!.+C$c#',1$O /+$>"*#7,3#+'$!<$2!-&$=!"*#"+"*'1P$Haunted by Empire: Geographies of Intimacy in Native American History . Ed. Ann Stoler. Durham: Duke UP, 2006. 191-212. %3=)-'H+0C$:-;&+0$ 1$O:$=!"6+&',*#!"$.#*/$ !"#$%!&&#'!"1P$1986. Denard 38-43. Morrison, Toni. A Mercy . New York: Alfred A. Knopf, 2008. N1$ O /+$ 2-*-&+$ !<$ #7+?$ c#*+&,*-&+$ ,";$ e#7#"#'/+;$ PA9+3*,*#!"'1P$ 1996. Toni Morrison: What Moves at the Margin . Ed. and intro. Carolyn C. Denard. Jackson: UP of Mississippi, 2008. 170-86. N. Interview by Charlie Rose. Charlie Rose . 10 Nov. 2008. 23 June 2011. 39-55. %0+&'C$B1$[1$O%+&30kP$The Atlantic Monthly Jan.-Feb. 2009: 104. D/#))#9'C$ %,&H$ @,)G+&1$ OX#'*!&#+'C$ %#3&!- and Literary: Problems of Genre and e#'*,"3+1P$New Literary History 34 (2003): 211-29. @#)6+&G),**C$ %#3/,+)1$ O%#3/,el Silverblatt Talks with Toni Morrison about Love 1P$ 2004. Denard 216-23. @7,)).!!;C$=/&#'*#"+1$OB,3H$ ,)H1P$The Nation 8 Dec. 2008: 37. Stein, Karen F. Reading, Leaning, Teaching Toni Morrison . New York: Peter Lang, 2009. Toomer, i+,"+**+1$ Oc#*+&,&0$ ^#,"*$ !"#$ %!&&#'!"$ P79!.+&'$ Qj!#3+'R$ !<$ D,'*$ ,*$ dR";$@*&++*$b1P$The New York Amsterdam News 18-24 Dec. 2008: 21. O9;#H+C$ i!/"1$ Oe&+,70$ V#);+&"+''?$ O"7,'*+&+;$ V!7+"$ #"$ =!)!"#,)$ j#&4#"#,1P$ The New Yorker 3 Nov. 2008. 23 June 2011. About the Author Hsiu-chuan Lee is Associate Professor of English at National Taiwan Normal University, ./+&+$ '/+$ *+,3/+'$ :7+,"$ )#*+&,*-&+C$ .!7+"R'$ )#*+&,*-&+C$ :'#,"$ :7+,"$ )#*+&,*-&+C$ psychoanalysis and film theory. She authored Re-Siting Routes: Japanese American Travels in the Case of Cynthia Kadohata and David Mura (Taipei: Bookman, 2003), and translated !"#$ %!&&#'!"R'$ Sula $ ILdYTK$ #"*!$ =/#"+'+$ I ,#9+#?$ =!77+&3#,)C$ RNNQK1$ X+&$ ,&*#3)+$ OThe [+7,#"'$!<$P79#&+$,";$*/+$QD-&)!#"+;R$D/#)#99#"+'?$i+''#3,$X,4+;!&"R'$Dream Jungle P$#'$ forthcoming in Mosaic: A Journal for the Interdisciplinary Study of Literature . [Received 27 March 2011; accepted 10 July 2011] ㈭屏㈀ᇷ㉺ᇸ ㎮Ⓙ┄⍆㣑ㆅ ⚁劒䔈 Ʉ゛⏚㠾ᇵ楹囌氨㧘ᇶ₼䤓㣑栢⊺䚕 ġ !* ীذ ġ 㛧 尐 㛔㔯⽆⎚侫䈡Ʉⶴ㕗炷 Scott Hicks 炸➟⮶䘬暣⼙˪暒句楁㛱˫炷 Snow Falling on Cedars , 1999 炸䭨⣷⣒ㄊ䘬⓷柴↢䘤炻㍊䳊ˬ㗪攻˭⛐暣⼙⼊⺷冯シ佑⺢㥳ᶲ㈖㺼䘬奺刚ˤ婾㔯椾⃰ 慸㶭炻˪暒句楁㛱˫䘬ˬㄊ˭炻ᶵ㗗⚈䁢掉柕−㍍忇⹎⣒ㄊˣ㓅⼙㨇䦣≽忇⹎⣒ㄊˣㆾ㗗㺼⒉ ≽ἄ冯⟜㘗婧⹎⣒ㄊ炻侴㗗䔓朊冯㔀徘↮暊炻忈ㆸデ䞍冯ね䭨僓戌炻㗪攻⚈㬌忠↢奨⼙侭䘬 夾倥冯⿅䵕䴙⎰侴⚃嗽㻓⺞䘬ˬㄊ˭ˤ婾㔯䫔Ḵ悐↮䳘嬨˪暒句楁㛱˫䇯㭝炻婒㖶ⶴ㕗忳䓐 Ḯ䔓朊−廗冯倚枛䘬ᶵ忋屓炻∝忈ᶨ䧖姀ㅞᶵ㓗㐸䎦㗪ʷ䎦⮎炷 the present/reality 炸炻㗪䨢㕟塪炻 姀ㅞᷣ橼䰱䠶䘬倚ˣ䔓ᶵ⎴㬍䴻槿炻㕤⼊⺷ᶲ㊹㇘奨⼙侭䘬掉⁷ˬ⾓˭デˤ䫔ᶱ悐↮廱军∝ 䎮婾炻婒㖶˪暒句楁㛱˫ᶨ䇯䘬㗪攻傥慷炻℞⮎Ἦ冒⼙䇯⁛埵炷 transfer 炸∝ 䘬シ⚾ˤ˪暒 句楁㛱˫㉵㬣ṉˣ㉵㇘䇕ˣ㉵䧖㕷䞃䚦ˣ㉵㖍塼伶⚳怟⽁䆇炷Japanese American relocation camp 炸炻℞㻓⺞忶ね䭨㔀徘䘬㗪攻炻㬋㗗ˬ∝ 㗪攻˭䘬℟⼊⏰䎦ˤ䫮侭ᷣ⻝˪暒句楁㛱˫ ᷳˬㄊ˭炻昌Ḯ⮎槿ᶨ䧖暣⼙伶⬠⼊⺷炻㚜㚱⺞⯽∝ 㗪攻ˬ⼴怢˭炷 belatedness 炸冯ˬ⺞怚˭ 炷prolongation 炸㓰ㅱ䘬シ佑ˤˬㄊ˭⎗ẍ㗗ᶨ䧖ΐ䎮炻嬻˪暒句楁㛱˫⛐∝ ˬ㗪⺞˭炷 duration 炸 ˪劙伶㔯⬠姽婾˫ 19 炷2011 炸烉 1-28 | © ᷕ厗㮹⚳劙伶㔯⬠⬠㚫 㓞⇘䧧ẞ烉Jul. 31, 2011 | ㍍⍿↲䘣烉Nov. 5, 2011 㛔㔯䁢⚳䥹㚫䞼䨞妰䔓ˬ䦣≽姀ㅞˣ樃≽幓ấ烉㖍伶暣⼙ᷕ䘬㗪攻ˣ㬟⎚ˣ冯屈朊ʷ䇯栗⼙˭ 炷95-2411-H-003-039-MY2 炸悐↮䞼䨞ㆸ㝄ˤἄ侭⍿䙲㕤ℑỵ⮑䧧Ṣ⮞屜䘬婾㔯ᾖ㓡⺢嬘炻ḇデ 嫅冢ⷓ⣏劙婆䞼䨞㷠佥叙ˣ㜿】ẫℑỵ⎴⬠⛐屯㕁吸普冯㔯䧧㟉⮵ᶲ䘬⋼≑ˤ * 㛶䥨⧇炻⚳䩳冢䀋ⷓ䭬⣏⬠劙婆⬠䲣∗㔁㌰ˤ 2 劙伶㔯⬠姽婾 ᷳᷕ㍊䳊ᶨᾳṢㆹṌ㚫ˣ姀ㅞṌ圵ˣ嶐崲兂刚䓴䶂䘬⿅䵕炻嬻Ḵ㇘∝ 㺚ℍ⼙䇯ᷕ㭷ᶨᾳ㕷 佌炻侴怟⽁䆇ḇᶵℵ⎒㗗⮰Ⱄ㕤㖍塼伶⚳Ṣ䘬㬟⎚姀ㅞˤ ġ 桫昄峭᧶ Ƞഓပ३ȡǵਔ໔ǵബǵᅿǵВဴऍ୯ᎂழᔼ 㛶䥨⧇ʉ⽆奨⼙ˬ⾓˭デ⇘∝ 㗪⺞ 3 From Visual Pleasure to Traumatic Duration The Ethics of Time in Scott Hicks’s Snow Falling on Cedars ġ Hsiu-chuan Lee * ġ ABSTRACT ġ This essay expounds the aesthetics and meanings of Scott Hicks ’s feature Snow Falling on Cedars (1999) by atte nding to criticisms on this film’s slow pacing. First, I argue that it is not lengthy shots, motionless camera, lagging movement, or visual/aural minimalism that slows down Snow Falling on Cedars . The film feels slow because of the disintegration of its images and narrative, and the disconnection between its senses and plots . As the film’s signifying structure falls apart, time drifts away and overflows. The second section analyzes sequences selected from Snow Falling on Cedars to reveal the incoherence and discontinuity of images and sounds, of reality and recollections. I argue that Hicks splits narrative and characters, thereby undermining spectators’ screen identification and visual pleasure. The third section turns to trauma theory and contends that Snow Falling on Cedars is loaded with traumatic time. Filming death, wars, racial conflicts, and the forced relocation of Japanese Americans during the Second World War, Snow Falling on Cedars seeks in traumatic duration opportunities to explore and generate social logics and meanings. I conclude that Snow Falling on Cedars does not simply experiment with an aesthetic style of slowness; being slow is an ethical move to obtain the time needed for probing into self-other encounter, past-present convergence, and cross-racial communication. Snow Falling on Cedars ultimately introduces a vision in which the trauma of Second World War brings together people of different colors and the memory of mass relocation no longer belongs exclusively to or affects only Japanese Americans. * Associate Professor, Department of English, National Taiwan Normal University 4 劙伶㔯⬠姽婾 ġ Keywords: Snow Falling on Cedars , time, trauma, race, Japanese American relocation camp 㛶䥨⧇ʉ⽆奨⼙ˬ⾓˭デ⇘∝ 㗪⺞ 5 ⎚侫䈡炽ⶴ㕗炷 Scott Hicks 炸䘬暣⼙˪暒句楁㛱˫炷 Snow Falling on Cedars 炸炻 㓡䶐冒⣏堃炽⎌䈡㢖炷 David Guterson 炸1994 ⸜↢䇰䘬⎴⎵⮷婒炻 1999 ⸜俞娽㨼㛇 ⛐伶⚳ᶲ㗈ˤ⎌䈡㢖䘬⮷婒ẍ伶⚳厗䚃枻ⶆ大⊿奺㘖䳸䀋炷 Puget Sound 炸⢾㴟䎕㧳 Ⲟ炷Bainbridge Island 炸䘬桐⛇ˣ㬟⎚ˣ冯Ṣ䈑䁢啵⚾炻∝忈Ḯ嘃㥳䘬俾䙖⣂Ⲟ炷 San Piedro 炸ˤ㓭ḳ䘤䓇⛐ 1954 ⸜炻⽟塼⇢䵚㺩⣓炷 gill-netter 炸⌉䇦炽㴟䲵炷 Carl Heine 炸 ⛐㴟ᷕ㹢㔫炻㩊⮇⭀⯽攳婧㞍炻徥↢㴟䲵⭞㕷Ⲟᶲ㖍塼⭖㛔炷 Miyamoto 炸⭞㕷㚱 ⛇⛘屟岋䲦䳃炻娵䁢⎴䁢⇢䵚㺩⣓䘬⭖㛔⭞Ḵᶾ炷nisei 炸攟⫸⭖㛔㟒晬炷Kabuo Miyamoto 烊暣⼙䇰⮯㟒晬䘬⎵⫿㓡䁢ˬ Kazuo ˭炻⌛ˬᶨ晬˭炸㴱⩴慵⣏炻⚈侴Ḱẍ崟 姜ˤ 1 㓭ḳẍ忁⟜⭀⎠䘬㱽⹕⮑⇌䁢ᷣ庠炻德忶暁㕡⁛╂嫱Ṣ䘬忶䦳炻ἄ侭⎌䈡㢖 ⚆栏䚠斄Ṣ䈑䘬忶⍣炻᷎啱㬌⇣䔓Ḯ俾䙖⣂Ⲟᶲ㕷塼怟⽁䘬㬟⎚冯Ḵ㇘㛇攻䘬∝ ˤ℞ᷕ㚨慵天䘬㧳㭝炻㗗㖍塼伶⚳㕷佌⛐䍵䎈㷗ḳ嬲ᷳ⼴怕⻟⇞槭暊军ℏ映ˬ怟 ⽁䆇˭炷 relocation camp 炸炻䔞㗪怬⛐⾝檀ᷕ䘬㖍伶⤛⫸Ṳ䓘⇅よ炷 Hatsue Imada 炸⚈ 㬌塓従冯⇅ㆨ䘥Ṣ⎴⬠Ẳ㕗㠭䇦炽拊㝷㕗炷 Ishmael Chambers 炸↮攳ˤ従㕤⭞⹕⡻≃炻 ⇅よ⛐㇘䇕㛇攻冯Ẳ㕗㠭䇦↮ㇳ炻⩩䴎Ḯ㟒晬ˤ㰺゛⇘⛐㇘䇕䳸㜇ḅ⸜ᷳ⼴炻⌉䇦炽 㴟䲵䘬媨㭢⭀⎠ἧ㟒晬ㆸ䁢塓⏲炻⇅よ㗗塓⏲ᷳ⥣炻侴Ẳ㕗㠭䇦⇯⚈两㈧Ḯ䇞奒ᶨ ㇳ∝彎䘬Ⲟᶲ⟙䳁˪俾䙖⣂姽婾˫炷 San Piedro Review 炸炻ㆸḮ㍉姒ˣ⟙⮶忁㦩⭀⎠䘬 姀侭炻㚨⼴᷎㌴㎉Ḯ嵛ẍ㲿⇟㟒晬⅌⯰䘬嫱㒂ˤ㓷デ䘬嶐䧖㕷ᶱ奺ㆨね炻⮷Ⲟᶲᶵ ⎴㕷塼ᷳ攻⽖⥁䘬ℙ䓇冯ṯ【⁛㈧炻≈ᷳẍ⎌䈡㢖⮵伶⚳大⊿⮷Ⲟ桐⍲彚㛹䓇㳣 慯ˣ㺩⣓㴟ᶲ䓇㳣䘬䳘兑㍷丒炻⮵㇘䇕ˣシ⢾ˣṢ⿏䫱嬘柴䘬㶙ℍ⇾㜸炻ἧ˪暒 句楁㛱˫䓓ᶨ㍐↢⌛ㆸ䁢㙊扟㚠炻᷎䌚⼿ 1995 ⸜⚳晃䫮㚫ʷ䤷䲵⮷婒䋶 炷PEN/Faulkner Award for Fiction 炸ˤ ᶵ忶炻⯙⁷䛦⣂⮷婒㓡䶐䁢暣⼙䘬⃰ἳᶨ㧋炻⍇叿⮷婒䘬䚃⎵冯䌚䋶䲨抬炻᷎ ᶵ傥䡢ᾅ暣⼙㓡䶐䇰⎓⤥⎓⹏ˤ暣⼙˪暒句楁㛱˫䘬㉵㓅⚢䃞⍿⇘慵夾炻㉵㓅⬴ㆸ ᷳ晃怬⣏ ⺋⏲炻Ὣㆸ⍇叿⮷婒 1999 ⸜慵䘣˪↢䇰⓮忙↲˫炷 Publishers Weekly 炸㙊 扟㌺埴㥄䘬䚃㱩炷 Maryles 117 炸ˤỮ㗗炻暣⼙ᶲ㗈ᷳ⼴炻⼙姽属⣂㕤墺炻⣏⣂夾˪暒 句楁㛱˫䁢⮷婒㓡䶐ㆸ暣⼙䘬⣙㓿䭬ἳˤ䔞䃞炻天⮯⎌䈡㢖㍍役ᶱ䘦Ḽ⋩枩炻Ṣ䈑 1 㛔㔯㖍㔯⥻⎵⮵ㅱ䘬㻊⫿炻⍫侫Ḯ˪暒句楁㛱˫⮷婒䇰䘬ᷕ嬗㛔炻嬗侭䁢嵁ặ㞙ˤ 6 劙伶㔯⬠姽婾 䛦⣂ˣね䭨䲦吃䘬⎚娑⺷懭ἄ侣㉵ㆸ暣⼙婯ỽ⭡㖻ˤẌṢ䍑␛䘬㗗炻⼙姽Ᾱ㈡姽˪暒 句楁㛱˫炻䎮䓙⣂ᶵ㗗ⶴ㕗⮯䇯⫸㉵⼿⣒墯暄炻゛⏰䎦䘬Ṣ䈑ˣ⼙⁷ˣね䭨⣒⣂炻 ⍵侴㗗暣⼙㓭ḳ⿏ᶵ嵛炻㗈㺼䘬㗪攻⣒攟ˣ䭨⣷⣒ㄊˤ˪㺦䞛暄娴˫炷 Rolling Stone 炸 ㊾劎˪暒句楁㛱˫ẌṢˬ㖷㖷㫚䜉˭炷“coma -inducing” 炸炻㗗ˬ⣙䛈侭⽭岆ᷳἄ˭ 炷Travers 炸ˤ˪䲸䲬旧⥮㕗䈡ᷡ㕘倆˫炷The New York Amsterdam News 炸娵䁢˪暒句楁 㛱˫ˬ⣏屣␐䪈炻⌣⎒婒Ḯᾳ䯉╖䘬㓭ḳ˭炻怬⤥䧖㕷㬋佑㚨⼴⼿ẍỠ⻝炷Pryce 20 炸ˤ ˪伶⚳教倥Ṣ˫炷The American Spectator 炸ẍ˨⣙䩲䘬㗪攻˩炷“Stolen Time”炸䁢⼙姽 㧁柴炻㊯↢⁷˪暒句楁㛱˫忁㧋䘬䇯⫸㴒屣ʷ‟䩲奨⼙侭䘬㗪攻烊娚⼙姽ᶵ⭊㯋䘬 ㊯↢炻忁㧋䘬暣⼙ˬ㉵Ḽ↮揀⯙⣈Ḯ˭炷Bowman 62 炸ˤ˪㕘倆␐↲˫炷Newsweek 炸冯 ˪䲸䲬㗪⟙˫炷The New York Times 炸䘬姽婾ㆾ姙䬿㗗㶙ℍḮᶨṃˤ˪㕘倆␐↲˫㊯↢ ⎌䈡㢖䘬⮷婒℞⮎᷎ᶵ暋㉵炻⎒㗗⮶㺼ⶴ㕗ᶵ㕟⛘ˬ嬻㓭ḳ婒ᶵᶳ⍣˭烉ⶴ㕗ˬ⮯ 㓭ḳ↯ㆸ䠶塪䇯㭝炻ㆾ⇵ㆾ⼴⛐㗪攻庠ᶲ喅埻⺷⛘嶛帵˭炻忈ㆸ˪暒句楁㛱˫⎒㚱ˬ䔓 朊˭炷shots 炸炻㰺㚱ˬ㓭ḳ˭炷scenes 炸炻ˬ䶐䔓Ⅎᶵ拗炻婒㗗㇚∯⯙䃉喍⎗㓹Ḯ˭炷Ansen 炸ˤ ˪䲸䲬㗪⟙˫ḇ娵䁢˪暒句楁㛱˫忶⹎䠶塪䘬╖㟤伶㘗嬻⼙䇯㶒䁢ˬ冯䛇⮎ᶾ䓴僓 䭨䘬⅘⅟喅埻⑩˭炻侴⣒⣂ˬ⺞⬽䘬䈡⮓掉柕˭冯ˬ崭䎦⮎䘬−㍍˭炻⍰嬻㔀徘㗪攻 㺗ᶵ⇵炷Holden 炸ˤ⎴㧋㲐シ⇘⼙䇯㗪攻忳䓐䘬⓷柴炻≈㊧⣏䘬˪湍㜿暄娴˫ 炷Maclean’s 炸㚜㖶䡢⛘㊯↢˪暒句楁㛱˫㓿⛐ˬ䭨⣷˭炷pacing 炸烉ⰌⰌ䔲䔲䘬Ὰ㔀掉 柕炻嬻㓭ḳˬ⤪⡄Ḽ慴曏ᷕ˭炻⯙忋ˬ句⛐恋娚㬣䘬楁㛱ᶲ䘬暒悥句⼿⣒ㄊḮ˭ 炷Johnson 炸ˤ ⮷婒㓡䶐䁢暣⼙䘬⓷柴⋫柕叔䵺炻䔞䃞ᶵ㗗ᶨ䭯婾㔯傥⣈婒⼿㖶䘥ˤ㛔㔯䘬㑘 ⮓炻ḇᶵ㗗䁢Ḯ㭼庫⎌䈡㢖䘬⮷婒冯ⶴ㕗䘬暣⼙⬘⃒⬘≋ˤẌ䫮侭デ冰嵋䘬炻㗗 ˪暒句楁㛱˫䭨⣷⣒ㄊ炻ˬ⎒㚱䔓朊炻㰺㚱㓭ḳ˭䘬婒㱽炻ⷞ↢Ḯˬ㗪攻˭⛐暣⼙⼊ ⺷冯シ佑⺢㥳ᶲ娚㈖㺼ỽ䧖奺刚䘬⓷柴ˤ˪暒句楁㛱˫ᷳẍ⁁⍿㈡姽炻䓐ᶨ⎍娙Ἦ ䷥䳸炻ㆾ⎗婒㗗⼙䇯⣒ˬㄊ˭炻ẍ农㕤䃉㱽⺽崟奨⼙ˬ⾓˭デˤ 2 ᶵ忶炻忁㧋䯉䔍⛘ 2 㛔㔯䓐ˬˮ⾓˯デ˭ᶨ娆Ἦ↠栗⁛䴙暣⼙䎮婾ᷕᷳˬ⾓デ˭炷 pleasure 炸暣⼙㗪攻忳䓐⭮↯䘬斄Ὢˤ ᶳᶨ䭨妶婾嗧㉱炽励唯炷Laura Mulvey 炸ˬ夾奢⾓デ˭炷visual pleasure 炸䘬㤪⾝㗪炻㚫㚜忚ᶨ㬍婒㖶 忁ᶨ溆ˤ 㛶䥨⧇ʉ⽆奨⼙ˬ⾓˭デ⇘∝ 㗪⺞ 7 ⮵䄏⼙䇯䘬ˬㄊ˭奨⼙侭天㯪䘬ˬ⾓˭デ炻昌Ḯ䃉㱽㶭㤂婒㖶˪暒句楁㛱˫ᷳˬㄊ˭ ẍ⍲奨⼙侭暨䳊ᷳˬ⾓˭䘬㵝シ炻㚜⾥夾Ḯ奨⼙䴻槿ᷕ䘬ˬ⾓˭冯ˬㄊ˭炻⼨⼨ᶵ⍾ 㰢㕤䳽⮵䘬䈑岒ㆾ㨇㡘忇⹎炻侴䈥㴱Ḯ⼙⁷⏰䎦冯奨⼙侭䱦䤆デ䞍䘬䚠⮵忇⹎ˤ忈 ㆸ˪暒句楁㛱˫ˬㄊ˭䘬⍇⚈㗗Ṩ湤烎奨⼙侭ⶴ㛃忁悐暣⼙ˬ⾓忇˭⏰䎦䘬⍰㗗Ṩ湤烎 ˬㄊ˭ẋ堐㹅忂⣙㓿炻怬㗗⇍㚱䓐⽫冯シ佑烎暣⼙ᷕ恋ṃ䚳Ụ⣂检ˣ忶∑䘬㗪攻炻 㗗䛇䘬䘦䃉俲岜ˣ㮓䃉シ佑炻怬㗗℟㚱⼊⺷冯ℏ⭡ᶲ䘬䈡㬲₡ῤ烎ᶨ凔暣⼙天ˬ⤥ 䚳˭炻⣂ẘ岜䵲㷲䘬ね䭨ẍ⍲忋屓䘬㔀ḳ炻嬻奨⼙侭⛐奨⼙忶䦳ᷕℐ䤆忚ℍね䭨炻⾀ 姀暣⼙㓦㗈㗪䘬㗪攻㳩必炻䚜⇘暊攳暣⼙昊㗪ㇵ⿵䃞樂奢䴻忶Ḯ⸦ᾳ⮷㗪ˤ⎒㗗炻 ˬ⤥䚳˭䘬暣⼙ᶨ⭂天ˬ⾓忇˭╶烎劍婒姙⣂暣⼙悥㗗ẍね䭨䵲㷲忋屓䘬ˬ⾓忇˭ ἄ䁢ˬ⾓デ˭炷pleasure 炸䘬Ἦ㸸炻ㆹᾹ㗗ᶵ㗗⎗ẍ゛⁷㚱ᶨ䧖暣⼙微⎹㑵ἄ炻ᶵ㽫 ䷖ˣ怖㍑㗪攻炻⍵侴ㅱ䓐⼙䇯䘬⼊⺷冯ℏ⭡Ἦ⎔╂ˣ埵䓇暣⼙㗪攻炻⛐ˬㄊ忇˭䘬 㗪攻デ⿏ᷕ䘤㍀⎎ᶨ䧖奨⼙⾓デ炻⺢䩳⎎ᶨ䧖奨⼙ΐ䎮烎 ᶨˣ⒒ᶨ䧖ˬㄊ˭烎 ⻝⮷嘡⛐ 2007 ⸜䘤堐Ḯᶨ䭯妶婾Ṇ㳚㕘冰暣⼙ˬỶ旸ᷣ佑˭炷minimalism 炸䘬婾 㔯—— ˨⎘⊿ㄊ≽ἄ烉幓橼 —❶ⶪ䘬㗪攻栗⽖˩炻䱦⼑⛘⇾㜸Ḯ暣⼙⣂䧖ˬㄊ˭䘬⎗ 傥ˤ⤡⽆⣏堃炽欹⽟⦩炷David Bordwell 炸⮵⤥厲⠊⓮㤕暣⼙冯Ṇ㳚㕘冰⮶㺼ˬ⸛⛯ 掉柕攟⹎˭炷average shot length 炸䘬㭼庫炻婯崟Ṇ㳚暣⼙䘬⼙⁷桐㟤烉䚠庫㕤⤥厲⠊ 暣⼙㖍嵐⾓忇䘬掉柕−㍍炻Ṇ㳚⎵⮶⊭㊔㖍㛔䘬⮷㳍⬱Ḵ恶炷Yasujir ō Ozu 炸⎘䀋 䘬ὗ⬅岊⛯ẍˬ攟㉵掉柕˭叿䧙ˤ⇘Ḯḅ˕⸜ẋẍ⼴炻⎘䀋㕘扛⮶㺼⤪哉㖶Ṗˣ⻝ ἄ樍ˣ⏛⾝䛇ˣ昛⚳䫱炻ḇ悥ẍˬ攟㉵掉柕˭䁢桐㟤㧁娴炻⼩㇘ᶾ䓴⎬⛘⼙⯽ˤ ᶵ忶炻⻝⮷嘡娵䁢暣⼙䭨⣷㗗⾓ㆾㄊ炻᷎ᶵ⬴ℐ⍾㰢㕤掉柕−㍍忇⹎炻侴天⎴㗪侫 慷ˬ㓅⼙㨇䘬忳≽冯塓㓅Ṣ䈑奺刚䘬幓橼忳≽˭䫱天䳈炷127 炸ˤ⤡ẍ哉㖶Ṗ䘬暣⼙ 䁢ἳ炻婒㖶哉㖶Ṗᷳˬㄊ˭炻ᶵ⎒⚈䁢℞掉柕怈崭忶㔠㒂⸛⛯ῤ䘬ˬ攟˭炻㚜⚈℞暣 ⼙ᷕˬỶ旸˭䘬ね䭨⮵䘥冯⟜朊婧⹎ˣˬㄊℑ㉵˭ᶼᶵ㺼㇚䘬ˬ䛇⮎幓橼˭ˣẍ⍲ˬ⍣ 晙╣⊾˭ᶼ╖婧⍵央䘬㖍ⷠ䓇㳣䨢攻炷136-37, 144 炸ˤ㒂㬌炻⻝⮷嘡⮯ˬㄊ˭䘬㤪⾝ 8 劙伶㔯⬠姽婾 䓙䈑䎮⬠ᶲ⎗ẍ慷⊾ 䘬忇⹎炻⺞Ỡ⇘⮵暣⼙㔜橼⼊⺷ℏ⭡冯伶⬠桐㟤ᷳˬ岒˭䘬侫 慷ˤ㬌⢾炻⤡Ṏ⺽䓐⽟≺勚炷 Gilles Deleuze 炸ˬ㗪攻Ⱥ⼙⁷˭炷 time-image 炸䘬暣⼙䎮 婾炻䓛婾哉㖶Ṗ嵐役䫎嘇冯シ佑暞⹎䘬⭂掉攟㉵炻天⏰䎦䘬ㆾ姙㗗ᶨ䧖ᶵὅ旬㕤䨢 攻≽ἄˣᶵὟ旸㕤∯ね抒昛䘬ˬ䛇⮎㗪攻˭ˤ哉㖶Ṗ䘬ˬỶ旸ᷣ佑˭ὫㆸḮˬ㗪攻栗 ⽖˭炷 temporal magnification 炸炻ḇ⚈㬌⏰䎦Ḯ暣⼙䘬ˬ㗪攻Ⱥ⼙⁷˭ˤ 哉㖶Ṗ䘬ˬㄊ˭炻㍸ὃḮ㛔㔯ᶨᾳ慵天䘬崟溆冯⮵䄏炻㚱≑㕤ㆹᾹ⿅侫˪暒句楁 㛱˫忇⹎䶑ㄊ䘬⓷柴ˤ㚱嵋䘬㗗炻˪暒句楁㛱˫晾塓屔䁢䭨⣷䶑ㄊ炻℞−㍍忇⹎ˣ⼙ ⁷桐㟤ˣ䓂ㆾ柴㛸ℏ⭡炻⛯哉㖶Ṗ䘬暣⼙⣏䚠徽⹕ˤ堉媠哉㖶Ṗ嵐役暞⹎ˣỶ旸 䘬−㍍ˣ≽ἄˣ⮵䘥ẍ㥳ㆸˬㄊ˭䘬㧁㸾炻˪暒句楁㛱˫ᶵᶵㄊ炻℞⮎㗗⾓炻⯙姙 ⣂⃫䳈侴妨䓂军㗗㤝⾓䘬ˤ椾⃰炻⯙掉柕−㍍䘬忇⹎侴妨炻˪暒句楁㛱˫ᷕ掉柕䘬攟 ⹎拗句ᶵᶨ炻ẍ⼙䇯ᶨ攳⥳Ḽ↮⋲揀䁢ἳ炻⇵Ḵ⋩ᶨᾳ掉柕䓐㌱Ḯ䲬Ḽ↮揀炻⽆䫔 Ḵ⋩Ḵ⇘䫔Ḵ⋩ℓᾳ掉柕⌣⎒䓐Ḯ䲬ᶱ⋩䥺ˤ忁㧋䘬忇⹎炻ᶵ⎒怈怈⾓忶哉㖶Ṗ˪Ἀ 恋怲⸦溆˫䘬掉柕⛯忇ℕ⋩⚃䥺炻冯欹⽟⦩䴙妰䘬ᶨḅḅ˕⸜ẋ⤥厲⠊∯ね䇯䘬掉 柕⛯忇Ḵ军ℓ䥺䚠㭼炻ḇᶵ䬿ㄊˤ3 侴劍㐯攳掉柕忇⹎ˬ慷˭䘬妰䬿炻㓡⯙⟜㘗婧 ⹎冯⼙⁷桐㟤䘬ˬ岒˭Ἦ姽㕟炻˪暒句楁㛱˫㥳⚾寸炻䔓朊ˣ枛㓰ˣ冯Ṣ䈑≽ἄ⮵ 䘥ᷳ⣂Ⰼ㫉炻ḇˬỶ旸ᷣ佑˭⼊ㆸ⻟䁰⮵㭼ˤẍ⼙䇯ᷕ䘤䎦⌉䇦⯵橼忁ᶨ忋ᷚ⣏ 䲬㬟㗪ᶨ↮Ḵ⋩䥺䘬掉柕䁢ἳ烉⇢俛䘬㴟沍⎓倚⃰∫䟜㺮湹䘬䔓朊炻㍍ᶳἮ暟暐倚 Ờ晐叿ᶨᾳ⸦᷶朄㬊䘬㴟㘗怈㉵炻ᶨ≽ḇᶵ≽䘬㺩凡−⼙炻句⛐怈Ⱉ冯暚曬䑘㉙䘬 䔓朊ᷕ⣖ˤᶵ忶炻忁ᾳ掉柕 楸Ḯ䲬ᶨ䥺炻⯙塓㗫≽叿㲊䲳䘬㯜⼙䈡⮓⍾ẋ炻⎴ 㗪⽆䔓朊ᷳ⢾⁛ἮṢ䘬╀〗倚ˤ㍍叿炻䔓朊ὅ㫉⏰䎦㺩䵚㉾丑䈡⮓炻嬎攟旧䇦䈡炽 卓ΐ炷Art Moran 炸℞≑ㇳ䓐≃㓞䵚䘬側⼙䈡⮓炻嶛㍍⇘㺩䵚䈡⮓炻⛐⮾扛▰暄䘬 㴟沍⎓倚ᷕ怬⎗ẍὅ䦨倥夳ℑṢ䘬⮵娙ˤᶳᶨᾳ掉柕䈡⮓攫叿㯜冯Ṣ⼙䘬䓚㜧炻 ⸦晣欂㌱句䓚㜧炻㉵ㇻ叿幨橼ἄ✪㬣㍁ㇶ炻䘤↢㶭傮䘬ㇻ㯜倚ˤ䃞⼴䔓朊嶛㍍⇘≑ ㇳ炻㉵Ṿ⛐ↅ㛃㴟朊ᷳ⼴⽵ᶵỷἄ▼炻旧䇦䈡⍾侴ẋᷳ嵐⇵奨㛃炻⍵㉵掉柕⇯ㄊㄊ ㉱役丷丆叿欂䵚ˣ⛐㯜ᷕ庱㴖庱㰱䘬⌉䇦⯵橼ˤ䔓朊ℵ⹎↯⚆凡ᶲ䘬旧䇦䈡炻忁㫉 3 欹⽟⦩䘬䴙妰㔠⫿冯˪Ἀ恋怲⸦溆˫䘬掉柕⛯忇䴙妰㔠⫿炻⛯⺽冒⻝⮷嘡烊娛夳枩 127 姣 4 冯枩 128 ˤ 㛶䥨⧇ʉ⽆奨⼙ˬ⾓˭デ⇘∝ 㗪⺞ 9 ㆹᾹ䳪㕤䌚⼿ᶨᾳ㭼庫㍍役ˬ䨢攻䡢䩳掉柕˭炷establishing shot 炸䘬ℐ㘗䔓朊烉旧䇦 䈡䪁⛐ˬ喯䍲炽䐒匱˭炷Susan Marie 炸嘇㺩凡ᶲↅ㛃㴟朊炻≑ㇳ⇯ῂ叿凡凟㬋⛐▼⎸ˤ 䵲㍍䘬⍵㉵䈡⮓⌉䇦⛐㴟㯜ᷕ䘬幓⼙炻䚳⬫ㄊㄊ㰺ℍ㯜䱤䱤炻㺪㴖⎹䔓朊ⶎᶲˤ 侴䔞⌉䇦䘬幓⼙⯙天㺪↢㙓 ᶵ≽䘬䔓㟤㗪炻掉柕↯⇘ᶨ晣⛐昘曦⣑䨢ᷕ䚌㕳䘬㴟 沍ˤ ˪暒句楁㛱˫⼙⁷桐㟤ᷳ䷩墯ˣ寸炻⽆ẍᶲ䘬ἳ⫸⎗䔍䩢ᶨḴˤ䔞䃞炻˪暒句 楁㛱˫᷎ᶵ㗗㰺㚱攟㉵掉柕炻Ữ⌛ἧ㗗⛐ᶨᾳ㰺㚱−廗䘬攟㉵掉柕ᷕ炻ⶴ㕗ḇ⼰ ⮹嬻Ṿ䘬䔓朊朄ᶳἮㆾㄊᶳἮ炻侴㗗嬻奨䛦䘬夾奢冯倥奢两临⾁䠴ˤẍ暣⼙忚埴⇘ 䲬ℓ↮Ḵ⋩Ḽ䥺㗪攳⥳炻㊩临Ḯ崭忶ᶨ↮揀䘬㱽⹕攟㉵䁢ἳ烉㓅⼙㨇⽆㱽⹕ᷕ◞◞ ἄ枧ˣ☜⎸叿䅙㯋䘬㘾㯋墅伖攳⥳䦣≽炻ᶨ晬䘬ㇳ扔⛐掉柕䴻忶㗪塓妋攳Ḯ炻㏕惵 叿䔓朊ᷳ⢾▰暄䘬側㘗冯„䇦㶭㘘䘬⸦⎍⮵娙ˤ㬌㗪炻掉柕䵕㊩㯜⸛ᶵ≽炻䔞ᶨ晬 ⛐塓⏲ⷕ⛸ᶳ㗪炻Ṿ䘬共ᶲ⋲幓⍾ẋḮṾ䘬暁ㇳ炻∃⤥句ℍ掉柕㬋ᷕ⣖ˤ㓅⼙㨇 ㍍叿攳⥳⎹ⶎ㨓㎾军∃崘忚㱽⹕䘬㩊⮇⭀Ṇ㔯炽暵㕗炷Alvin Hooks 炸炻掉柕ᶨ⹎ⷞ ⎹Ṇ㔯䘬℔ḳ⊭炻⌣㰺㚱 ᶳἮ炻㍈忶℔ḳ⊭㗪ㆹᾹ䚳夳Ṇ㔯句⛐掉柕墉恋悐↮䘬 ㇳ㊧↢ᶨ䔲㔯ẞ炻᷎㍍忶㕩怲怆Ἦ䘬欂⍱嫱䈑ˤ㓅⼙㨇两临㈦⮳夾奢䃎溆炻⎹⎛㨓 ㎾⚆Ἦ炻㉵⇘Ḯ㱽昊㊯㳦䁢ᶨ晬彗嬟䘬⼳ⷓ⯤䇦㕗炽⎌呁㢖炷Nels Gudmundsson 炸 崘忚㱽⹕炻᷎冯ᶨ晬㎉ㇳˤỮ㓅⼙㨇⤥⁷ṵᶵ㺧嵛炻⃰⎹ᶳ㎾炻䚳Ụᶵ䴻シ⛘㋽㋱ ⇘Ḯ⯤䇦㕗Ṇ㔯㎉ㇳ䘬䔓朊炻㕳⌛⎹㱽⹕⼴⹏忉ⶉ炻㌫忶Ṣ倚溶㱠ˤ㍍叿炻㓅⼙ 掉柕⾥䃞㓡嬲Ḯ㕡⎹⼨ᶲ㎾炻ⷞ⇘Ḯ㱽昊Ḵ㦻㕩倥ⷕ炻ᶨᾳ㕩倥侭⛐掉柕㍈忶㗪㓦 ᶳ⟙䳁攳⎋婒娙Ḯ炻⎗㗗㓅⼙㨇᷎㰺㚱 ᶳἮ炻两临⎛䦣炻婒娙䘬Ṣ㕤㗗⼰⾓䘬塓 䦣↢䔓朊炻Ὰ㗗Ṿ惘⹏妶婾㟰ね䘬倚枛ṵ䃞㶭㘘⎗彐ˤ侴⯙⛐忁ᾳ㗪῁炻㓅⼙㨇 ㈦⇘Ḯ崘忚Ḵ㦻㕩倥ⷕ䘬Ẳ㕗㠭䇦炻嶇晐叿Ṿ炻䚳叿Ṿℍ⹏炻䔓朊忁ㇵ−㍍⇘⎎ᶨ ᾳ掉柕炻㗗Ẳ㕗㠭䇦充味ᶲ䫮姀䳁䘬䈡⮓ˤ㚱嵋䘬㗗炻忁㗪掉柕晾䃞廱㎃Ḯ炻䔓⢾ 枛⮵㟰ね䘬妶婾⌣㰺㚱 ᶳἮ炻ᶨ䚜㊩临⇘ᶳᶨᾳ⇅よ崘ℍ㱽⹕ᶨ㦻䘬掉柕ˤ 忁ᶨᾳἳ⫸炻嬻ㆹᾹ䚳⇘ⶴ㕗䘬掉柕ᶵᶵ偗 ᶳἮˣ朄ᶳἮ炻怬⼟⼧冒㚱 䓇␥シ⽿炻⛐䨢攻ᷕ㷠䦣炻ḇ⚈㬌ᶵ㕟⛘∝忈䔓⢾㘗ˣ䔓⢾枛炻ẍ⍲枛ˣ幓↮暊 10 劙伶㔯⬠姽婾 炷disembodied voice 炸䘬㓰㝄炻嬻˪暒句楁㛱˫䘬倚ˣ䔓䳸㥳䙲⼊墯暄ˤ4 ⼰㖶栗䘬炻 ˪暒句楁㛱˫劍⎗ẍ䧙ᷳ䁢ˬㄊ˭炻⇯ⶴ㕗㑵ἄ暣⼙ㄊ忇デ⿏䘬㕡⺷哉㖶Ṗ䘬㕡 㱽朆ⷠᶵ⎴炻侴忁ḇὫἧㆹᾹ䎮妋炻天⎔╂暣⼙䘬ˬ㗪攻Ⱥ⼙⁷˭炻ˬỶ旸˭⎗傥ᶵ 㗗ⓗᶨ䘬㕡㱽ˤ⻝⮷嘡⛐妶婾哉㖶Ṗ䘬暣⼙㗪炻娵䁢⭂掉攟㉵嬻㗪攻ˬᶵℵ㗗攻㍍ 旬幓㕤掉柕冯掉柕ˮᷳ攻˯䘬ˮ呁⣒⣯˯炷montage 炸˭炻侴ˬㆸ䁢䚜㍍㴖䎦⛐掉柕ˮᷳ ℏ˯䘬ˮ厴ン⣯˯炷montrage 炸˭炻嬻⼙䇯ᷕ⏰䎦䘬㗪攻ᶵ䫱⎴㕤㓭ḳᷕ塓䳸㥳忶䘬ˬ䎦 ⮎˭炷reality 炸㗪攻炻⽆侴橼䎦Ḯ㝷㟤㢖炷Henri Bergson 炸䎮婾ᷕ䘬ˬ㗪⺞˭炷duration 炸 炷134 炸ˤ⛐㬌炻⻝⮷嘡⮯ˬ㗪⺞˭䎮妋䁢ˬ㗪攻忋临㳩必䘬≽ン忳≽˭炷134 炸炻⻟婧 ˬ㗪⺞˭忋临ᶵ⎗↯√䘬㤪⾝ˤ⤡⛐哉㖶Ṗ䘬⭂掉攟㉵ᷕ㈦⇘ᶨ䧖ˬ朄䈑˭Ụ䘬ˬᶵ 妨ᶵ婆 炷ᶵẍ忶⣂䘬ね䭨ˣ⮵䘥ㆾ⟜朊婧⹎⍣⸚㒦㗪攻䘬忋临㳩≽炸ˣᶵ−ᶵ≽炷ᶵ ẍ忶⣂䘬呁⣒⣯忳≽ㆾ㓅⼙㨇忳≽⍣䟜⢆ˣ⍣ㇻ㕟ˣ⍣㉥暊ˣ⍣ᷕṳ㗪攻䘬忋临㳩 ≽炸˭炻ἄ䁢ˬ㗪⺞˭䘬堐⽝炷135 炸ˤᶵ忶炻䫮侭゛墄⃭炻䃉婾ℵ⾶㧋ˬ攟˭ˣℵ⤪ỽ ˬ朄˭䘬ˬ⭂掉攟㉵˭炻ḇ㚱℞Ṣ䁢⺢㥳䘬㗪䨢Ὗ旸ˤˬ⭂掉攟㉵˭⎗ẍ㧉㒔ˬ㗪⺞˭炻 Ữ䃉⽆䫱⎴㕤ˬ栓≽㔜橼⛐㗪䨢ᷕ㳩≽˭炷“time-space flux of a vibrational whole ”炸䘬 ˬ㗪⺞˭㛔シ炷Bogue 3 炸ˤˬ╖ᶨ掉柕ˮᷳℏ˯㗪攻䘬忋临㳩≽˭炷⻝ 135 炸炻嬻㗪攻 冒⍣㺼㇚炻⚢䃞㗗⎔╂暣⼙㗪攻䘬ᶨ䧖㕡㱽炻Ữ䳽朆╖ᶨ㕡㱽ˤḳ⮎ᶲ炻⛐⽟≺ 勚䘬暣⼙䎮婾ᷕ炻ˬ䔓㟤˭炷frame 炸ˣˬ掉柕˭炷shot 炸ˣ冯ˬ呁⣒⣯˭炷montage 炸ᶱỵ ᶨ橼炻悥㗗⏰䎦㗪攻䘬天奺ˤ暟媦炽㝷㟤炷Ronald Bogue 炸忁㧋㍷徘ˬ䔓㟤˭ˣˬ掉柕˭ˣ 冯ˬ呁⣒⣯˭ᶱ侭ᷳ攻䘬斄Ὢ烉 ࣚጕǶ᜔ᓐࢂಔޑΠ࠾ഈൂϡȐ closed set ȑۓฝࣁቹႽϡનޑឪቹᐒ ᐱҥޑቹႽൂϡǴӧਔ໔ύុǴӢԜࢂঁၮޑൂՏǴ᜔ᓐϐϣޑނ ၸำǴዴޑௗکǴբࣁڻᡂඤǶԶᆾϼޑᡏᡂඤՏǴӢϐ߄Αᡏ ᡏȐ open whole ȑܫ໒ޑ ۯǴ ਔڻᓐౢғᜢ߯Ǵၸᆾϼ᜔ޑჴӦᡣόӕ 4 斄㕤˪暒句楁㛱˫墉枛ˣ幓↮暊炻ἧ⼿倚ˣ䔓ᶵ⋼婧䘬䈡刚炻ᷡ⯤䇦炽↿⣓䥹䵕勚炷Daniel Lefkowitz 炸㚱⮰㔯妶婾ˤ↿⣓䥹䵕勚㊯↢炻⛐˪暒句楁㛱˫墉炻䴻ⷠ㗗ˬ倚枛↢䎦㗪炻掉柕㰺㚱 ⮵叿婒娙䘬Ṣ䈑烊侴䔞掉柕㊯⎹Ṣ䈑㗪炻Ṣ䈑⌣⍰ᶵ婒娙Ḯ˭炷 21 炸ˤ 㛶䥨⧇ʉ⽆奨⼙ˬ⾓˭デ⇘∝ 㗪⺞ 11 ளаೣऀᆶݙΕႝቹǶȐ42 ǹচբ௹ᡏȑ 㝷㟤忚ᶨ㬍䓛婾炻ˬ䔓㟤˭⺢䩳㗪攻朄㬊䘬⮩攱╖⃫炻Ữ⛐ˬ⭂ᶳ䓴䶂˭䘬≽ἄᷕ炻 ᶵ᷷䔓朊冒ㆹ妋㥳炻ẍ⍲ˬ䔓㟤˭ℏ⢾Ḻ≽彗嫱䘬≽ン⎗傥ˤˬ掉柕˭ⷞℍ㗪攻炻䓐 ℞ℏ悐䈑橼䘬忋临嬲㎃⼘栗㗪攻㳩≽⿏炻Ữ℞≽傥⍿旸㕤掉柕廱㎃㗪暋ẍ徜性䘬㗪 䨢昼敉ˤ侴ˬ呁⣒⣯˭䘬≇䓐㬋⛐㕤㕉㕳掉柕冯掉柕ᷳ攻䘬ᶵ忋屓ˤˬ呁⣒⣯˭晾䃞 ⷠⷠ㈖㺼⻟⊾㔀ḳ炻农ἧ㗪攻ˬ䨢攻⊾˭䘬⃫↞炻Ữ℞⛐ˬ−˭ˬ㍍˭䘬≽ン忶 䦳ᷕ炻⌣ᶵ㗪⎔╂ˬ㗪⺞˭䘬攳㓦㔜橼ˤ ㎃⎍娙婒炻⿅侫暣⼙ˬ㗪攻Ⱥ⼙⁷˭䘬嬘柴㗪炻℞⮎㰺㚱⽭天⮵䩳掉柕䘬朄㬊 䦣≽炻攟㉵冯−㍍炻ㆾ掉柕ˬᷳℏ˭䘬ˬ䛇⮎㗪攻˭冯掉柕ˬᷳ攻˭䘬㉥尉㗪攻ˤ ⭂掉攟㉵⎗ẍ∝忈㳩≽䘬ˬ厴ン⣯˭炻ᷚ㍍掉柕䘬ˬ呁⣒⣯˭㛒▿ᶵ傥埵䓇⎎ᶨ䧖ˬ厴 ン⣯˭ˤ䔞䃞炻忁怲婒䘬ˬ呁⣒⣯˭炻㊯䘬᷎ᶵ㗗刦㢖㕗✎炷Sergei Eisenstein 炸㚨 㖑㍸↢䘬ᶨ䧖䈡⭂䘬−㍍㕡㱽炻⌛忋专ℑᾳℏ⭡ᶵ忋临䘬掉柕炻ẍ攳䘤↢䫔ᶱシ佑 䘬−㍍ㇳ㱽ˤ⽟≺勚䫮ᶳ䘬ˬ呁⣒⣯˭炻㲃㊯ᶵ⎴䘬−㍍㱽ˤ⛐˪暣⼙ 2烉㗪攻Ⱥ⼙ ⁷˫炷Cinema 2: The Time-Image 炸墉炻⽟≺勚㈧娵炻呁⣒⣯䳸⎰ᾳ⇍掉柕ᷕ䘬ˬ忳≽ Ⱥ⼙⁷˭炷movement-image 炸ẍ嵐役㗪攻㔜橼炻嬻㗪攻䓙㗪⺞䘬ˬ忋临˭炷continuity 炸 嬲ㆸ䨢攻⊾䘬ˬ⸷↿˭炷succession 炸炻⃭℞慷 ⇘㗪攻䘬ˬ攻㍍⏰䎦˭炷35 炸ˤỮ㗗Ṿ 䵲㍍叿㊯↢炻⎌℠暣⼙墉呁⣒⣯思⽒䘬ˬデ䞍Ⱥ忳≽㱽⇯˭炷sensory-motor schema 炸炻 ⛐䎦ẋ暣⼙ᷕ⍿⇘㊹㇘烉䎦ẋ⼙䇯䘬−㍍ᶵℵ䡢⮎⛘ˬ䷓⎰˭炷suture 炸⼙⁷炻忈ㆸ ⼙⁷⛐忳≽ᷕˬ僓年˭炷aberration 炸烊ˬ−㍍˭∝忈↢Ἦ䘬⚈㬌ᶵℵ㗗娵䞍冯埴≽䵲⭮ ㈋⎰䘬ˬデ䞍Ⱥ忳≽ね⠫˭炷sensory-motor situation 炸炻侴㗗㹊↢ね䭨㔀ḳ䘬ˬ䲼䱡夾 倥ね⠫˭炷pure optical and sound situation 炸炻侴㗪攻ḇ⚈䁢ˬ忳≽Ⱥ⼙⁷˭僓戌炻䌐 䩳ㆸ䚜㍍㴖䎦䘬ˬ㗪攻Ⱥ⼙⁷˭炷41 炸ˤ天⎔╂暣⼙㗪攻デ⿏炻㗗ᶵ㗗攟㉵ˣ㗗ᶵ㗗 朄㬊ᶵ≽ˣ㗗ᶵ㗗ˬỶ旸˭炻⎗傥悥ᶵ㗗㚨慵天䘬ˤ天嵐役䲼䱡䘬暣⼙ˬ㗪攻Ⱥ⼙⁷˭炻 㚨㟡㛔䘬㗗天嬻ˬ娵䞍Ⱥ⼙⁷˭炷perception-image 炸ˬ≽ἄȺ⼙⁷˭炷action-image 炸 星ℍ⌙㨇炻Ὣㆸˬデ䞍Ⱥ忳≽˭忋䳸䘬檮⻃ˤ⽟≺勚㊯↢炻Ὤ⚳⮶㺼⟼⎗⣓㕗➢炷Andrei Tarkovsky 炸婒䘬ˬ㗪攻⛐掉柕ℏ㳩≽˭⚢䃞㰺拗炻Ữ㗗ˬ㗪攻䘬ἄ䓐≃㚫崭↢掉 12 劙伶㔯⬠姽婾 柕䘬Ὗ旸炻侴呁⣒⣯㛔幓ḇ㚫⛐㗪攻ᷳᷕ忳ἄ䓇⬀˭炷42 炸ˤ ⽟≺勚䘬婒㱽炻⸓≑ㆹᾹ⿅侫⎎ᶨ䧖暣⼙㗪攻冯暣⼙忳掉ˣ−㍍㈨埻䘬斄Ὢ烉 ᶵℵ㗗忳掉冯−㍍䳸㥳㗪攻炻侴㗗㗪攻䈥⺽叿掉柕冯−㍍烊ᶵℵ㗗㗪攻旬Ⱄ⛐ね䭨 ᷳᶳ攻㍍↢䎦炻侴㗗㗪攻ˬ㻓˭忶㔀ḳ炻暋ẍ㓞㜇炻䃉⽆䳸㥳ˤ忁ᶨ䭯婾㔯⽆忁䧖 㗪攻ˬ㻓˭忶㔀ḳ䘬奨溆↢䘤炻娎叿Ḯ妋˪暒句楁㛱˫ˬㄊ˭䘬㕡⺷⍲シ佑ˤ䫮侭娵 䁢炻˪暒句楁㛱˫䘬ˬㄊ˭炻᷎ᶵ㗗䔓朊Ⰼ㫉ˣ≽ἄ⮵䘥ˣ掉柕廱㎃ㆾ−㍍忇⹎⣒ㄊ炻 侴㗗ᶨ䧖䔓朊冯㔀徘↮暊炻デ䞍冯ね䭨僓戌炻㗪攻忠↢奨⼙侭夾倥冯⿅䵕䴙⎰炻⚈ 侴栗⼿⣂检ˣ忶∑ˣ⚃嗽㻓⺞䘬ˬㄊ˭ˤᶳᶨ悐ấ㚫忚ᶨ㬍斉慳忁ᶨᾳ婾溆ˤ Ḵˣˬ⾓˭デ掉⁷ 励唯⛐˨夾奢⾓デ㔀徘暣⼙˩炷 “Visual Pleasure and Narrative Cinema”炸忁ᶨ䭯 䴻℠婾㔯墉炻⮯奨⼙⾓デ㬠⚈㕤暣⼙⮵Ṣ栆䩢夾㫚㛃䘬㺧嵛ˤ奨⼙㗪奨䛦晙幓㕤湹 㘿䘬奨䛦ⷕ炻䩢夾暣⼙戨ⷽᶲ㖶Ṗˣ㶭㘘䘬䔓朊ˤ䔓朊ᶲ䘬ὲ䓟伶⤛炻㗗䎦⮎ᶾ䓴 ⬴⼊ˣ⬴伶䘬㈽⮬炻⏠⺽奨䛦掉⁷炷mirror-image 炸⺷䘬娵⎴ˤ励唯娵䁢烉ˬᷣ㳩暣 ⼙䘬⁛䴙⮯㲐シ≃普ᷕ⛐Ṣ䈑䘬⼊䉨炷 the human form 炸ˤ㟤⯨ˣ䨢攻ˣ㓭ḳ悥㧉 㒔Ṣ䓇䎦⮎炷 anthropomorphic 炸ˤ⛐㬌炻゛天䚳夳䘬⤥⣯⽫冯㷜㛃㶟暄叿⮵⼙⁷䘬╄ ッ䅇䦼烉Ṣ䘬共ˣṢ䘬幓橼炻Ṣ䘬⼊䉨℞⚃␐ね⠫䘬斄Ὢ炻歖㳣䘬Ṣ䈑帵䃞ᶾ 䓴炻㗈ℍ䛤䯦˭炷 836 炸ˤ堐朊ᶲ炻励唯⛐妶婾奨⼙⾓デ㗪Ụ᷎᷶㰺㚱㍸⇘㗪攻⾓ㄊ䘬 ⓷柴烊Ữ㗗炻䔞⤡⺽䓐㉱ⱉ炷Jacques Lacan 炸䘬掉⁷䎮婾炻㚱シ䃉シᷳ攻℞⮎䴻 ⮯Ṣ栆䱦䤆㨇⇞ᷕ䘬㗪攻∯䡤ⷞℍ夾奢⾓デ䘬婾徘䔞ᷕˤ⛐掉⁷䎮婾墉炻㗪攻㈖㺼 Ḯ慵天奺刚烉㉱ⱉ䫮ᶳℕ⇘⋩ℓᾳ㚰⣏䘬⫘⸤炻嶱巴叿ㇵ㬋⛐⬠㬍䘬暁儛炻㐸叿ˣ ㈞叿幓怲ảỽ⎗ẍ⸓Ṿʷ⤡䚜䩳崟幓橼䘬Ṣㆾ☐䈑炻䁢䘬⯙㗗天⛐䝍夳冒掉ᷕ⼙ ⁷㗪炻デ⍿ケ〭ˤᶵ忶炻掉ᷕ⼙⁷䁢ỽ傥ⷞἮケ〭烎㉱ⱉ䘬妋慳㗗烉掉ᷕ䚳Ụ⬴㔜ˣ ⚻㺧䘬冒ㆹˬℐ⁷ʷㆸ⁷˭炷imago 炸炻嬻掉⇵ὅ䃞㍁ㇶ㕤ˬ忳≽傥≃㫈仢˭炷motor incapacity 炸冯ˬ⒢做ὅ岜⿏˭炷nursling dependence 炸䘬⫘⸤炻⼿ẍ⛐䚳夳掉⫸䘬 䝔攻炻⼟⼧夳⇘Ḯ䃞ㆸ䅇䌐䩳䘬冒ㆹ炷2炸ˤ婒⼿㚜㶭㤂ᶨ溆炻掉⁷ⷞἮケ〭炻㗗 㛶䥨⧇ʉ⽆奨⼙ˬ⾓˭デ⇘∝ 㗪⺞ 13 ⚈䁢∝忈Ḯ䝔攻ˬ嶐崲㗪攻˭䘬⸣尉ˤ掉⫸⁷䥹⸣ᶾ䓴ᷕ䘬㗪㨇ㆾảシ攨炻嬻Ṣ 䚩䔍ˣ⇒⍣⽆㬌⇘⼤炻⽆⫘⸤嬲䁢ˬㆸ˭Ṣ⽭枰䴻忶䘬㻓攟㗪ˤ⫘⸤⚈䃉㱽 䴙⎰幓橼忳≽㨇傥炻晐㗪嗽㕤冒ㆹ⚃↮Ḽ塪䘬䃎ㄖ䔞ᷕ炻德忶掉⫸炻⌣傥⾓忇䘬⊾ 幓䁢ㆸ䅇䘬⬴㔜幨橼ˤˬ掉⁷˭⍾ẋḮ㗪攻炻㽫䷖䛇⮎㗪攻䁢ˬ掉⇵ㆹ˭冯ˬ掉ᷕㆹ˭ ℑᾳ⎗ẍ⛐䨢攻ᷕ彭忇廱㎃䘬冒ㆹ⼊尉ˤ 㚨㖑⮯暣⼙戨ⷽ㭼㒔䁢掉⫸䘬炻昌Ḯ励唯炻怬㚱⯂Ⱥ嶗㖻炽欹⽟䐆炷Jean-Louis Baudry 炸冯慴㕗㍸⬱炽㠭勚炷Christian Metz 炸ˤ⇵侭⛐˨➢䢶暣⼙㨇☐䘬シ嬀✳ン ἄ䓐˩炷“Ideological Effects of the Basic Cinematographic Apparatus” 炸炻⼴侭⛐˪䱦䤆 ↮㜸冯暣⼙烉゛⁷䘬傥㊯˫炷Psychoanalysis and the Cinema: The Imaginary Signifier 炸 墉炻悥ᷣ⻝奨⼙䴻槿ᶵ⎒⺞临Ḯ掉⁷㨇⇞炻怬⻟⊾Ḯ忁ᾳ㨇⇞ˤ椾⃰炻暣⼙㓦㗈㗪 奨⼙侭㙓㗪ᶵ≽炻嬻夾奢ᷣ⮶デ䞍炻奨⼙侭⼟⼧⚆⇘掉⁷ᷳ⇵炷Baudry 353 炸ˤ㬌⢾炻 暣⼙昊嬻奨䛦晙幓炻䚳ᶵ夳冒炻ㆸ䁢ˬℐ䞍デ䘬ᷣ橼˭炷all-perceiving subject 炸 炷Metz 45 炸烉掉⁷䎮婾ᷕˬ掉⇵ㆹ˭ˬ掉ᷕㆹ˭ㆾṵ专㕤ℑᾳ㗪䨢䚠Ḻ彗嫱䘬斄Ὢ炻奨⼙ 侭⌣⎗ẍ㚜⽡⸽䘬㉳㡬ˬ奨⼙ㆹ˭炻⊾幓䁢㓅⼙㨇䘬ˬ夾䶂˭炷look 炸炻忚ℍ⼙䇯䳸㥳 ⬴㔜䘬㗪攻ˤ㚨慵天䘬㗗炻㖊䃞ˬ暣⼙㧉㒔䘬ˮ䎦⮎˯㬋㗗ˮ掉ᷕㆹ˯䘬⺞Ỡ˭炷Baudry 353 炸炻ˬ掉ᷕㆹ˭⬴㺧䃉仢炻ˬ暣⼙䎦⮎˭ḇ⽭枰⣑堋䃉䷓烉ね䭨䘬忚埴⽭枰䵲㷲㚱 ≃炻䑘䑘䚠㈋烊忋㇚䷓⎰䫱㈨ⶏ劍㗗ᶵ⣈䲼䅇炻㴒屣Ḯ㗪攻炻⯙ᶵ怕嫷䁢㬡㇚㉾ 㢂炻ˬ⾓˭デ䚉⣙ˤ ⎗ẍ䎮妋炻˪暒句楁㛱˫㚫塓姽䁢䭨⣷⣒ㄊ炻嶇ⶴ㕗⛐⼙䇯ᷕᶵ㕟㊹㇘掉⁷䘬 ˬ⾓˭デ⍇⇯〗〗䚠斄ˤẍᶳ⃰ẍ暣⼙攳⟜䘬ᶨ䲣↿掉柕䁢ἳˤ⮶㺼ⶴ㕗㚦䴻堐 䣢炻˪暒句楁㛱˫䫔ᶨᾳ䔓朊゛天 䘬炻⯙㗗䴎奨䛦ᶵ䞍忻冒䚳夳ḮṨ湤炻㚜ᶵ䞍 忻冒幓⛐ỽ嗽䘬デ奢烉⛯⊣䘬㶙啵刚炻⽖⽖德炻奨䛦ᶵ䞍忻冒㗗ˬ伖幓㴟⸽ ㆾữ䩳暚挜˭炷“Talking with Scott Hicks” 143 炸ˤ掉柕䶑䶑㉱役ᷳ⼴炻ㄊㄊ㗈ℍ䛤䯦䘬 㗗ᶨᾳⶎ⎛㎾㗫䘬㧉䱲幓⼙炻ὅ䦨⎗ẍ彐娵↢ᶨᾳṢ㬋栓䘬㒨䇔⛐ᶨ刀㺩凡䘬 㟭㛮枪䪗ˤ㍍叿掉柕两临⼨⇵㍐忚炻層役Ṣ⼙柕悐冯ᶲ⋲幓㗪炻掉柕⅟ᶵ旚⛘ㇻ䟜 Ḯ䔓朊䘬ᶨ䘦ℓ⋩⹎⍇⇯炻㕳廱军Ṣ⼙䘬㕄⇵㕡炻嬻ㆹᾹ䚳夳䪁⛐㟭㛮枪䪗炻㬋⛐ 墅伖䅰䀓䘬Ṣ㗗⌉䇦ˤỮ㶭㤂䘬共漸 䔁䝔攻炻⼰⾓⍰星ℍ⇢䛤䅰冯⣏曏徟勓 14 劙伶㔯⬠姽婾 ᷳᷕ炻䔓朊㍍叿⛐㓅⼙㨇斄㨇䘬┨㒎倚ᷕ枻䃞㴰⣙炻䔁ᶳᶨ䇯湹㘿ˤ㍍ᶳἮ䘬掉柕 ẍ䀓㞜溆䅫㱡䅰䘬䈡⮓攳⥳炻䃞⼴䔓朊ᶲ⍰㗗ᶨᾳ㧉䱲⼿⸦᷶天圵ℍ㶙啵刚側㘗䘬 幓⼙炻㍸叿㱡䅰炻⏡枧嘇奺ˤ掉柕⛐㉱役Ṣ⼙㗪炻湹刚䘬Ṣ䈑−⼙嬲⼿㶭㘘炻Ữ䵲 ㍍䘬掉柕⍰娕嫶⛘嬻−⼙徸㻠嬲⮷炻㹹句⇘䔓朊⎛ᶳ䶋炻㚨⼴㴰⣙⛐䔓朊ᷳ⢾炻侴 恋ẌṢ㐠ᶵ㶭ˣ䚳ᶵ德䘬㶙啵刚䔓朊炻⛐Ṣ䈑㴰⣙Ḯᷳ⼴炻怬⃨冒 䔁Ḯ崭忶Ḵ⋩ 䥺揀ˤ˪暒句楁㛱˫Ụ᷶⽆ᶨ攳⥳⯙㚱シ㊹㇘奨⼙侭ˬ䚳夳˭䘬㫚㛃冯㗪䨢⭂ỵデ炻 Ṣ⼙㧉䱲炻䔓朊㖊⁷⮓⮎炻⍰⤪⸣⼙炻侴掉柕ᶵ㕟㋒≽炻Ṣ⼙↢䎦Ḯ炻⌣⍰卓⎵⛘ 㹹↢䔓㟤炻㚜╂崟奨⼙侭䚳ᶵ夳ℐ㘗䘬䃎ㄖˤ攳⟜䘬忁ᶨ䲣↿掉柕炻ẍℑᾳṢ䈑䘬 䈡⮓ἄ䳸烉ᶨᾳ㗗⌉䇦㍸叿㱡䅰⎹⢾㍊㛃炻⎎ᶨᾳ⇯㗗ᶨ晬䘬䈡⮓ˤ㟡㒂㍍ᶳἮ䘬 ね䭨䘤⯽炻ㆹᾹ⎗ẍ娎叿䎮妋忁ℑᾳ䈡⮓Ḻ䁢㬋⍵㉵掉柕炻㗗⌉䇦啱叿㱡䅰Ṗ䚳 夳Ḯ⛐⎎ᶨ刀㺩凡ᶲ䘬ᶨ晬烊Ữ䓙㕤ℑṢ⛐忁ᶨ䲣↿掉柕᷎ᷕᶵ㚦↢䎦⛐⎴ᶨᾳ䔓 朊炻忁ℑᾳ䈡⮓䘬㗪䨢斄Ὢ⚈㬌㗗晙㘎䘬ˤ♜㟤Ἦ婒炻⌉䇦㒨䇔⛐㺩凡㟭㛮ᶲ炻⌉ 䇦炷㟡㒂ᷳ⼴䘬㓭ḳ炻ㆹᾹ㚫䞍忻溆䅰⏡嘇奺䘬Ṣḇ㗗⌉䇦炸⏡枧嘇奺炻⇘⌉䇦㍸ 䅰ↅ㛃炻ᶱᾳ䔓朊䘬㗪䨢忋专ḇ㗗㧉䱲䘬ˤ奨⼙侭⽭枰䫱⇘暣⼙忚埴ᶨᾳ⋲⮷㗪ᷳ ⼴炻ḇ⯙㗗⛐ᶨ晬⛸ᶲ㱽⹕嫱Ṣⷕ䘬恋ᶨ㭝炻ㇵ㚱㨇㚫⚆栏暣⼙攳⟜䘬㶙啵刚曏刚 呤勓炻䚳夳ᶨ晬⌉䇦⛐⣏曏䘬㴟ᶲ䚠忯炻倥夳ṾᾹ䘬⮵娙炻ḇㇵ㚱⎗傥䁢忁⸦ᾳ 䔓朊炻⺢䩳㖶䡢䘬㗪䨢斄Ὢˤ侴⁷忁㧋崭忶ᶨᾳ⋲⮷㗪䘬㗪攻ⶖ炻⎗傥ḇ⯙㗗˪暒 句楁㛱˫䃉㱽䆇忈奨⼙ˬ⾓˭デ䘬⍇⚈ᷳᶨˤ 婈䃞炻劍⮯˪暒句楁㛱˫嬨ㆸᶨ悐␥㟰㍐䎮暣⼙炻暣⼙⃰⏰䎦⌉䇦幓ṉ炻ℵ德 忶㱽⹕婧㞍㉥䴚∅丕炻ㄊㄊ⚆㹗␥㟰䘤䓇䘬䳘䭨炻㛒▿ᶵ傥䘤⯽↢ᶨᾳㇳ㱽䳘兑䘬 ∯ねˬℐ尴˭炷totality 炸烊侴ᶲᶨ㭝婾⍲䘬䔓朊㗪攻ⶖ炻ḇ⎗ẍ塓妋慳䁢暣⼙ᷕⷠ夳 䘬Ὰ㔀ㇳ㱽ˤ䃞侴炻Ὰ㔀ᶵᶨ⭂㚫忈ㆸ㗪攻㻓㳩炻⚆ㅞ䘬ℏ⭡ḇ⎗傥䵲㈋䎦⮎炻ㆸ 䁢䨑⚢㔀ḳ䘬天奺ˤῤ⼿㲐シ䘬㗗炻˪暒句楁㛱˫⛐嗽䎮⚆ㅞ㗪炻⚆ㅞ⼙⁷ᶵ㗪僓暊 䎦㗪ʷ䎦⮎ね䭨䘤⯽炻⚆ㅞ⚈㬌ᶵ⁷㗗⠓墄䎦⮎䨢晁䘬䳈㛸炻⍵侴冒ㆸ㟤⯨炻冒㑩 ≽傥炻埵䓇↢⼙䇯ᷕ⣂Ⰼ䘬㗪攻冯㔀徘崘⎹ˤẍ㱽⹕⁛妲嫱Ṣ䘬䲣↿⟜㘗䁢ἳ炻䔞 䫔ᶨỵ嫱Ṣ嬎攟旧䇦䈡∃攳⥳㍍⍿ℑ忈⼳ⷓṌ⍱娘⓷㗪炻⚆ㅞ⯂傥嶇晐娘⓷䘬儛 㬍烉㩊⮇⭀Ṇ㔯⓷⍲ḅ㚰␥㟰䘤䓇䔞⣑㶭㘐䘬ね⼊炻旧䇦䈡㕤㗗㍸⇘Ḯ恋ᾳ䔘ⷠ⭪ 㛶䥨⧇ʉ⽆奨⼙ˬ⾓˭デ⇘∝ 㗪⺞ 15 朄䘬㶭㘐炻忁㗪䔓朊㸾䡢⛘↯㎃⇘䔞⣑㶭㘐ˬ喯䍲炽䐒渿˭嘇㺩凡㺪㳩㴟䀋䘬掉柕ˤ 侴䔞旧䇦䈡昛徘㏄䳊㴟ᶲ␥㟰䎦⟜䘬忶䦳炻㍍叿᷎㊄姒⌉䇦怢⫨喯䍲炽䐒渿ẍ⁛怆 ⌉䇦㬣妲㗪炻⚆ㅞ䔓朊Ỽ䓐䘬㗪攻嬲攟Ḯ炻Ữ旧䇦䈡䘬㱽⹕嫱娆⛐ℏ⭡ᶲ⯂䧙⎴ 㬍ˤᶵ忶炻䔞旧䇦䈡㸾⁁暊攳喯䍲炽䐒渿䘬⭞炻忁㗪䔓朊䎮䔞↯⚆㱽⹕炻⚆ㅞ䘬掉 柕⌣僓年Ụ⛘炻⃨冒↯⇘㱽慓屨㉱㕗炽杳⇑炷Horace Whaley 炸攳⥳≽ㇳ妋⇾⌉䇦怢 橼䘬䔓朊ˤ天䈡⇍䔁シ䘬㗗炻䔞屨㉱㕗攳⥳妋⇾ⶍἄ㗪炻旧䇦䈡ㅱ娚ᶵ⛐妋⇾䎦⟜炻 ẍ忁ᶨᾳ䔓朊᷎ᶵ傥塓妋嬨ㆸ旧䇦䈡䘬姀ㅞˤ侴䔞䔓朊怬 䔁⛐屨㉱㕗䘬妋⇾↨ 冯⌉䇦共悐䈡⮓㗪炻ᶨ晬䘬彗嬟⼳ⷓ⯤䇦㕗娘⓷旧䇦䈡䘬倚枛ẍ䔓⢾枛䘬⼊⺷⃰⁛ 忶Ἦ炻⁷㗗天⮯徸㻠僓⸷䘬⚆ㅞ⼙⁷╂⚆䎦⮎ˤᶳᶨ䥺揀炻䔓朊䳪㕤↯⚆㱽⹕ᶲ䘬 旧䇦䈡炻掉柕䈡⮓Ṿ⼟⼧塓㉥暊䎦⮎炻勓䃞ᶵ䞍幓⛐ỽ㗪ˣỽ嗽䘬堐ねˤ 㱽⹕䎦⮎⚆ㅞ䔓朊ᶵ⎴㬍炻䓂军徸㻠↮塪䁢Ḻ䁢䪞䇕䘬⣂㡅⿅嶗炻⛐⼙䇯㍍ ᶳἮ䘬䘤⯽ᷕグ嵐㖶栗ˤ⯤䇦㕗娘⓷旧䇦䈡㗪炻忶⍣䘬䔓朊䨧㍺↢䎦炻Ữ䴻ⷠᶵ㗗 ⯦晐叿旧䇦䈡䘬⚆央炻侴㗗冯⯤䇦㕗㍸⓷䘬倚枛⎴㗪↢䎦炻⤪㬌䘬⎴㗪⿏㊹㇘㱽⹕ ᶲ⃰⓷ℵ䫼䘬㫉⸷ˤ㬌⢾炻⸦ᾳ㚱斄㺩凡ᶲ暣㰈䘬暞䠶掉柕炻⚈䁢㗗䈡⮓炻⍰䓐Ḯ 㘿婧ㇻ炷low-key lighting 炸炻⮵㭼⻟䁰䘬⼙炻堐䎦⺷炷expressionistic 炸桐㟤 ⃰⇵⮓⮎䘬⚆ㅞ掉柕朆ⷠᶵᶨ㧋ˤ旧䇦䈡ᷳ⼴炻㩊㕡⁛╂䘬䫔Ḵᾳ嫱Ṣ㗗㱽慓屨㉱ 㕗ˤ㚱嵋䘬㗗炻旧䇦䈡ㇵ⚆䫼⬴㚱斄㺩凡ᶲ暣㰈䘬⓷柴炻怬⛸⛐嫱Ṣⷕᶲ炻䔓朊⌣ 䫱ᶵ⍲㱽⭀⁛╂屨㉱㕗炻䴻⃰↯⇘屨㉱㕗䘬妋⇾炻㍍忋⸦ᾳ掉柕↮⇍䈡⮓Ḯ⌉ 䇦怢橼䘬ㇳˣ俛ˣ共炻怬㚱屨㉱㕗⮰㲐ⶍἄ䘬共漸炻䵕㊩㽫⍂䘬堐䎦⺷桐㟤ˤ掉柕 ⛐妋⇾⭌ℏ⼭ḮḴ⋩检䥺ᷳ⼴炻䔓朊⢾ㇵ⁛Ἦ屨㉱㕗⛐㱽⹕ἄ嫱䘬倚枛炻䓙㧉䱲⇘ 㶭㘘ˤ德忶䔓⢾枛炻奨⼙侭倥夳屨㉱㕗⛐㱽⹕ᶲ㍸⇘⌉䇦ⶎ俛ᷳ⼴䘬农␥ ⎋ᷫ怕 憵䈑㑆㑲炻忁㗪䔓朊嶛㍍⇘㱽⹕ᶲ䘬昒⮑⛀炻⎗㗗⎒ Ḯᶨ⇶恋炻晐叿㩊⮇⭀Ṇ㔯 ㍸⓷烉ˬ憵䈑⎗傥㗗欂⍱╶˭炻掉柕ὧ⮯䃎溆䦣⇘⇵㘗炻䓐堐䎦⺷䘬⼙䈡⮓Ṇ㔯ㇳ ᷕ㎉叿䘬嫱䈑欂⍱炻⎴㗪⼴㘗䘬昒⮑⛀⚈句⇘掉柕䃎溆ᷳ⢾炻嬲ㆸᶨ⛀㧉䱲ˤ㱽⹕ ᶲ䘬屨㉱㕗㍍叿⚆䫼烉ˬ忁朆ⷠ㚱⎗傥˭炻Ữ㗗掉柕怬㗗㰺㚱䦣⇘嫱Ṣⷕᶲ䘬屨㉱㕗炻 ⍵侴嶛⚆㱽慓妋⇾⭌墉炻屨㉱㕗㬋⮰㲐⛘㩊㞍⌉䇦怢橼ˤ㍍ᶳἮ炻妋⇾⭌墉䘬屨㉱ 㕗⎹嬎攟旧䇦䈡㊯↢⌉䇦ⶎ俛ᷳ⼴䘬 ⎋炻侴㱽⹕ᷕ䘬娘⓷⇯ẍ䔓⢾枛䘬⼊⺷⎴㗪 16 劙伶㔯⬠姽婾 忚埴炻Ữ倚枛徸㻠塓妋⇾⭌ᷕ屨㉱㕗冯旧䇦䈡䘬⮵娙央味ˤ忁㧋䘬⬱㌺炻ᶨ䚜⺞临 ⇘屨㉱㕗㍸⇘炻⁷忁㧋䘬 ⎋炻Ṿ⛐Ḵ㇘ᷕⰊ夳ᶵ歖炻䔓朊ㇵ⍰⚆⇘㱽⹕⮓⮎䘬⟜ 㘗炻侴Ṇ㔯忁㗪ㇵ㬋攳⥳娊⓷屨㉱㕗⽆⇵㗗⏎䚳忶栆Ụ䘬 ⎋ˤ䵄奨屨㉱㕗ἄ嫱䘬 忁ᶨ䲣↿掉柕炻⚆ㅞᶵᶵℵ⾈⮎⛘䁢㱽⹕䔞ᶳἄ姣炻怬ᶵ㗪嵹⛐㱽⹕ˬ䎦㗪˭ᷳ ⇵烉ᶵ㗗㱽⹕ᷕ䘬屨㉱㕗⛐ἄ嫱㗪⚆ㅞ⃰⇵䘬妋⇾ね⼊炻侴㗗Ἦ冒忶⍣妋⇾⭌暞䠶 䘬䳘䭨⃰↢䎦炻ㆾ㗗⮯㱽⹕ᷕ䘬∯ね㍐⇘䔓⢾枛䘬⢾䶋ỵ伖炻ㆾ㗗⺽⮶㱽⹕娘⓷䘬 㕡⎹ˤḳ⮎ᶲ炻晐叿⼙䇯䘬䘤⯽炻ˬ䎦㗪˭ˬ⮓⮎˭ᶵ⎒徸㻠⣙⍣⮵⼙䇯㔀徘䘬ᷣ ⮶㪲炻㱽⹕ᶲ䘬欂⍱䈡⮓ˣ昒⮑⛀句⛐夾奢䃎溆ẍ⢾䘬ἳ⫸炻悥嬻ㆹᾹ䚳夳䎦㗪ʷ 䎦⮎徸㻠デ㝻ḮἮ冒㕤忶⍣䔓朊䘬堐䎦⺷桐㟤ˤ䓐⽟≺勚䘬婆⼁Ἦ婒炻⛐˪暒句楁 㛱˫墉炻ⷞ䴎奨⼙侭㖶䡢㗪䨢⌘尉䘬ˬ娵䞍Ⱥ⼙⁷˭冯ˬ≽ἄȺ⼙⁷˭徸㻠徨⯭㫉 天炻⍾侴ẋᷳ䘬㗗媕䣢㗪攻㳩≽䘬ˬ⚆ㅞȺ⼙⁷˭炷recollection-image 炸ˤ 䔞䃞炻⽟≺勚㊯↢炻ᶵ㗗㚱䘬ˬ⚆ㅞȺ⼙⁷˭⛯傥∝忈ˬ䲼䱡夾倥ね⠫˭炻天 ˬ姀ㅞ㶟Ḫ炻䃉⽆彐娵 ˭炷55 炸炻㕡傥㚱㓰䒎妋ˬデ䞍Ⱥ忳≽˭忋䳸ˤ5 ⽟≺勚⮯嵐 役ˬ䲼䱡夾倥⼙⁷˭炷pure opsigns and sonsigns炸䘬ˬ⚆ㅞȺ⼙⁷˭冯ˬ⣊⠫Ⱥ⼙⁷˭ 炷dream-image 炸忋䳸炻㍷徘ᶨ䧖ˬ⚆ㅞ˭⤪ˬ⣊掉˭ᶨ凔炻ⰌⰌ䔲䔲炻䓙ᶨᾳ徜⚰ 炷circuit 炸忚ℍ⎎ᶨᾳ徜⚰炻嬻䎦⮎ˬ㺪㴖䘬⬑䪍姀ㅞˣ⸣゛ˣㆾỤ㚦䚠嬀䘬⌘尉˭ 㕟Ḯ䶂炷56 炸炻⚈㬌ḇ䃉⽆⋨⇍⣊墉䘬シ尉㗗Ⱄ㕤冒ˣⰔ㕤㼃シ嬀炻怬㗗Ⱄ㕤ṾṢˤ ⛐⮷婒䇰˪暒句楁㛱˫墉炻⚆ㅞ➢㛔ᶲ㗗㡅䎮ḽ䃞䘬ˤ⎌䈡㢖⛐㭷ᾳṢ䈑䘣⟜㗪炻 Ṽ䳘⛘䇔㡛℞䓇㳣側㘗冯⿏㟤⽫䎮ˤ⮷婒Ṣ䈑晾⣂炻㵝味䘬㬟⎚㗪攻晾⺋炻Ữ㗗㭷 ᶨᾳḳẞ䘬㗪攻㧁娴悥⼰㶭㤂炻㭷ᶨᾳ奺刚ḇ悥㚱Ⱄ㕤冒䘬⚆ㅞ炻ᶵ⎴Ṣ䈑䘬⿅ 䵕㴯㷕↮㖶ˤ⛐暣⼙䇰ᷕ炻姀ㅞ䘬㬠Ⱄ冯⚆ㅞ㊯⎹䘬㗪攻炻栗䃞⯙ᶵ㗗忁湤㡅䎮↮ 㖶Ḯˤ⇵朊㍸⇘炻㖶㖶㗗旧䇦䈡⛐ἄ嫱炻䔓朊⌣䨩䃞↯⇘屨㉱㕗妋⇾⌉䇦⣏橼䘬ね 㘗ˤ⛐⌉䇦䘬㭵奒Ẳ⟼炷Etta 炸ἄ嫱㗪炻䔓朊ḇ㚦ᶵ㛇䃞⛘㍺ℍᶨᾳ⌉䇦怢橼冯屨㉱ 㕗妋⇾↨䘬䈡⮓ˤ屨㉱㕗⛐ἄ嫱㗪炻䔓朊⇯㚦䴻嶛㍍⇘ᶨⷽ⌉䇦䓇⇵䘬⼙⁷炻恋ㅱ 5 ˪暒句楁㛱˫∝忈ˬ䲼䱡夾倥ね⠫˭炻嬻掉柕冯ね䭨僓戌炻㍉䓐䘬䫾䔍昌ḮㇻḪ奨⼙侭䘬夾奢デ 䞍炻倚枛䘬忳䓐ḇ⯭≇⍍ˤ斄㕤倚枛忳䓐⤪ỽ∝忈˪暒句楁㛱˫ᷕˬ娕䔘˭炷 uncanny 炸䘬㓰㝄炻 ⎗⍫侫↿⣓䥹䵕勚炻㛔㔯ᶵℵ岭徘ˤ 㛶䥨⧇ʉ⽆奨⼙ˬ⾓˭デ⇘∝ 㗪⺞ 17 娚㗗⌉䇦怢⫨喯䍲炽䐒渿䘬姀ㅞˤ侴䔞屨㉱㕗⛐嫱Ṣⷕᶲṳ䳡㖍㛔∵忻炷kendo fighting 炸㗪炻䔓朊⃰㗗攫忶ᶨ晬䪍⸜㗪冯䇞奒䶜佺∵忻䘬ね㘗炻䃞⼴ὅ⸷↢䎦ℑᾳ 䃎溆㧉䱲䘬掉柕炻ᶨᾳ㗗ᶨ晬䘬共⛐ᶨ䇯㱦㺧㯜⼙䘬䍣䐫ᷳ⼴劍晙劍䎦炻⎎ᶨᾳ䔓 朊⇯㗗㧉䱲䘬㧡⼙冯Ṣ⼙㗫≽叿炻⎴㗪⸤䪍ᶨ晬䇞奒䶜∵䘬倚枛ẍ䔓⢾枛䘬⼊ ⺷炻⛐ℑᾳ䔓朊↢䎦㗪㊩临ᶵ㕟ˤ⛐忁墉炻ᶵ⎒㗗ℑᾳ㧉䱲䘬掉柕⁷⣊⠫ᷕ䘬䔓㟤 ᶨ㧋㕟塪㴖≽炷奨⼙侭天䫱⇘⼙䇯ᷳ⼴↢䎦栆ỤˣỮ㰺㚱㧉䃎嗽䎮䘬䔓朊炻ㇵ㚱彎 㱽⮯忁ℑᾳ掉柕㒢ℍᶨ晬≈ℍ伶幵ˣ⍫㇘㫸映䘬⚆ㅞ炸炻忁ᶨ䲣↿掉柕怬嬻⼙䇯墉䘬 㗪攻炻䓙㱽⹕䘬䎦㗪ʷ䎦⮎冯嫱Ṣ⚆ㅞℑᾳⰌ㫉炻忚ᶨ㬍↮塪䁢军⮹⚃ᾳⰌ㫉烉㱽 ⹕䘬䎦㗪ˣ屨㉱㕗姀ㅞᷕ䘬∵忻ˣᶨ晬䶜佺∵忻䘬䪍⸜⚆ㅞˣ怬㚱ᶨ晬≈ℍ㫸㇘䘬 姀ㅞˤ侴昌ḮⰌ䔲䘬姀ㅞ徜⚰炻忁墉䘬ˬ⚆ㅞȺ⼙⁷˭怬㶟暄Ḯ屨㉱㕗ᶨ晬姀ㅞ ᷕ䘬∵忻ˤ屨㉱㕗儎㴟墉䘬∵忻炻㗗㖍㛔幵⚳ᷣ佑⅟感䘬㭢Ṣ㈨ᾮ烊ᶨ晬姀ㅞᷕ䘬 ∵忻炻⌣⊭⏓ḮṾ⮵䇞奒䘬姀ㅞ冯⍫≈㫸映㇘䇕㗪怕⍿䘬䓇㬣∝ ˤ姀ㅞ徜⚰ᶵ⎒ ⷞἮ㗪攻慵䔲炻ḇὫㆸᶵ⎴⿅䵕䘬䡘㑆ˣ⋼⓮ˤ ⛐˪暒句楁㛱˫墉炻⮯⚆ㅞ㗪攻䷩墯䘬Ⰼ㫉㍐⇘㤝农䘬炻䔞Ⱄẍ⇅よ⮓䴎Ẳ㕗 㠭䇦䘬↮ㇳᾉ䁢庠⽫炻䘤⯽↢Ἦ䘬ℑ㭝䲣↿掉柕ˤ䔞䫔ᶨ⣑䘬㱽⹕⮑䎮⏲ᶨ㭝句炻 Ẳ㕗㠭䇦冯㭵奒⛐㘂梸㗪妶婾㟰ね炻掉柕槨⛘嶛㍍⇘Ḵ㇘㛇攻炻⇅よ⛐≈ⶆ㚤㽌䲵 怟⽁䆇炷 Manzanar Relocation Center 炸䄏栏ᶨᾳ⮷⤛⬑ℍ䜉䘬䔓朊炻侴䔓朊⢾⁛Ἦ䘬 倚枛炻⌣㗗㇘⇵Ẳ㕗㠭䇦⛐俾䙖⣂Ⲟ㛱㛐㜿ᷕ炻⎹⇅よ⎸曚ッシˤ䔓朊㕳⌛↯⇘㛱 㛐㜿ᷕ⸜庽䘬Ẳ㕗㠭䇦⇅よ丷䵧䘬幓⼙炻䃞⼴ℵ㍍⚆怟⽁䆇ᷕ䘬⇅よˤ㬌㗪⇅よ 㚿婎↮ㇳᾉ䘬倚枛ẍ䔓⢾枛䘬⼊⺷↢䎦炻⛐嬨⇘ˬㆹ゛ℵḇ㰺㚱ảỽḳ㭼㍸䫮⮓忁 ⮩ᾉ䴎Ἀ㚜嬻ㆹ⽫䖃˭㗪炻䔓朊嶛㍍⇘䎦㗪炻晐叿Ẳ㕗㠭䇦ㇻ攳攨㗪搘⋁┨☻ᶨ 倚炻⇅よ䘬倚枛⊾䁢Ẳ㕗㠭䇦儎㴟ᷕℑᾳ廒㚧䘬倚枛炻ᶨᾳ倚枛䴻嬨⇘Ḯˬㆹ⽭ 枰⏲姜Ἀḳ⮎˭炻⎎ᶨᾳ倚枛怬⛐慵墯ˬ㰺㚱⒒ᶨẞḳ㚜Ẍㆹ⽫䖃˭ˤẲ㕗㠭䇦ㇻ攳 䅰炻攻枻㗪㖶Ṗ炻⇅よ䘬倚枛ḇ ḮᶳἮˤ⛐忁ᶨ䲣↿掉柕墉炻⚆ㅞ䘬ᷣ橼嬲⼿ 㧉䱲ˤㅞ崟↮ㇳᾉ䘬㗗⇅よ怬㗗Ẳ㕗㠭䇦烎㗗⇅よ⛐怟⽁䆇䘬ᶨᾳ⣄㘂゛崟Ḯ冒 Ẳ㕗㠭䇦䘬忶⍣冯↮ㇳᾉ炻怬㗗Ẳ㕗㠭䇦⛐冯㭵奒婯娙ᷳ⼴炻゛崟Ḯ㚦䴻⚘⯭怟 ⽁䆇䘬⇅よˣṾᾹℙ㚱䘬忶⍣ˣ怬㚱恋⮩ẌṢ⽫䖃䘬↮ㇳᾉ烎 18 劙伶㔯⬠姽婾 ⼙䇯䫔Ḵ⹎⏰䎦↮ㇳᾉ㗪炻忁ˬ↮ᶵ㶭㤂䨞䪇㗗婘⛐⒒墉⚆ㅞ婘˭䘬姀ㅞ徜⚰ 嬲⼿㚜≈墯暄ˤ㶙⣄墉Ẳ㕗㠭䇦怚怚⮓ᶵ↢⮵⌉䇦␥㟰䘬姽婾炻攳⥳侣㑧冲䈑炻侣 ↢Ḯ⣦⛐檀ᷕ䔊㤕䲨⾝Ⅎ墉炻ᾉ⮩䴻㲃湫䘬↮ㇳᾉˤ䔓朊↯⇘㚤㽌䲵怟⽁䆇炻Ẳ 㕗㠭䇦⮓䴎⇅よ䘬ᾉẞ塓⇅よ䘬㭵奒䘤䎦炻㭵奒忤叿⇅よ⮓ᶳ↮ㇳᾉ炻᷎天⇅よ⮯ ↮ㇳᾉ䘬ℏ⭡ⓠ䴎⤡倥ˤ⼙䇯⃰㗗䨧㍺↢䎦⇅よ㚿嬨ᾉẞ䘬䔓朊ˣ䎦⛐䘬Ẳ㕗㠭䇦 囟㚚⛐㚠ᶨ奺嬨ᾉˣ怬㚱⇅よ㭵奒倥⇅よ嬨ᾉ㗪䘬堐ね炻ᶱᾳṢ⼟⼧↮嗽ᶱᾳ 塓⋨昼攳ἮˣỮḺ䚠⮵娙䘬㗪䨢ˤㄊㄊ䘬炻怟⽁䆇㇞⢾㳣≽䘬╏櫏倚炻⽆ᶨ攳⥳⎒ 㗗⇅よⓠᾉ䘬側㘗炻徸㻠嬲⼿暯俛㫚倦炻味忶⇅よ䘬倚枛炻Ẳ㕗㠭䇦儎㴟ᷕ㇘䇕 䘬昮昮ⶐ枧忋ㆸᶨ䇯ˤ㍍叿炻䔓朊↢䎦⍫冯Ḵ㇘䘬Ẳ㕗㠭䇦炻㬋幢⛐⸲ᶲ嬨⇅よ䘬 ᾉ炻⇅よⓠᾉ䘬倚枛ḇℵ⹎枧崟ˤ㍍ᶳἮ㗗ᶨ忋ᷚ䟜䠶䘬姀ㅞ⼙⁷烉⇅よ䘬䈡⮓ˣ 䆮塪䘬䀓ˣ幢⛐⸲ᶲ嬨ᾉ䘬Ẳ㕗㠭䇦䛤奺㲃叿㶂㯜ˣ⛐㴟㯜ᷕ庱㴖庱㰱䘬Ẳ㕗㠭 䇦ˣ怬㚱塓㴟㯜㰾ᶲⱠ䘬Ẳ㕗㠭䇦炻㴟䀀ᶲ䚉㗗⋲幓❳ℍ㱁⛇䘬㇘⢓怢橼㬣⍣䘬 欂ˤ䃞⼴䔓朊ⷞ忶堅扺星昋䘬㇘⢓ˣ㚠嬨ᾉ䘬Ẳ㕗㠭䇦ˣ怟⽁䆇ᷕⓠᾉ䘬⇅よˣ 怬㚱再Ὰ㱁䀀䘬Ẳ㕗㠭䇦㉔崟柕炻䚳夳䘬䪇㗗怈㕡炻⋩⸦㬚䘬Ṿ⇅よ⛐㱁䀀ᶲ徥 徸炻㊦崟㱁䀀ᶲᶨ㡅㬣欂ˤ㚨⼴炻䔓朊↢䎦Ḯ䴻㇒⍣ⶎㇳ兪䘬Ẳ㕗㠭䇦炻怬㚱塓 慓嬟Ṣ⒉㇒⍾ᶳἮ䘬㕟偊ˤ⇅よⓠ⬴Ḯᾉ炻㰱満䘬共漸㵴ᶳ㶂㯜ˤ䔓朊忁㗪嶛㍍⇘ ᶨᾳ柕悐㛅ᶳ䘬Ẳ㕗㠭䇦䈡⮓炻ẍṾㅌ⾺ᶵ妋䘬䛤䤆䁢忁ᶨ䲣↿掉柕ἄ䳸ˤ⛐忁ᶨ 㭝⼙⁷墉炻姀ㅞ䘬ᷣ橼⽡⸽䰱䠶ˤ姀ㅞᶵ⎒⛐Ẳ㕗㠭䇦ˣ⇅よˣ冯⇅よ䘬㭵奒䫱ᶵ ⎴奺刚ᷳ攻㷠崘炻怬⛐⎴ᶨᾳ奺刚ᶵ⎴㗪攻䘬冒ㆹᷕ㳩䩬烉䎦⛐䘬Ẳ㕗㠭䇦ˣ㇘䇕 ᷕ㍍⇘↮ㇳᾉ䘬Ẳ㕗㠭䇦ˣ㇘ḳᷕ⍿Ḯ慵 ᾗ再㝻埨㱁䀀䘬Ẳ㕗㠭䇦ˣ怬㚱㇒偊ᷳ ⼴䘬Ẳ㕗㠭䇦炻嬻媪䘬ˬ冒ㆹ˭䠶ㆸ㗪攻㳩必ᷕ暋ẍ㊤㍍䘬⼙⁷ˤẲ㕗㠭䇦塓㇒ ⍣ᶨ⣏㭝ㇳ兪䘬幨橼炻歖埨㵳㺻䘬㕟偊䔓朊炻䔞䃞㚜⻟⊾Ḯ˪暒句楁㛱˫掉⁷䠶塪炻 Ṣ䈑⚃↮Ḽ塪炻∯ね㔀ḳ暊㔋僓年䘬デ䞍㓰ㅱˤ ᶱˣ∝ 㗪攻 ⽟≺勚娵䁢ˬ㗪攻Ⱥ⼙⁷˭ᷳẍ⛐㫸㳚暣⼙墉ⳃ崟炻㫸㳚䴻㬟䫔Ḵ㫉ᶾ䓴 㛶䥨⧇ʉ⽆奨⼙ˬ⾓˭デ⇘∝ 㗪⺞ 19 ⣏㇘⭮↯䚠斄烉Ḵ㫉⣏㇘䘬∝ 㓡嬲ḮṢ栆⮵㗪䨢䘬゛⁷炻㇘⼴㫸㳚䘬ˬ嗽⠫ẌṢ ⣙㍒炻䨢攻嬻Ṣᶵ䞍⤪ỽ㍷徘˭炷Deleuze xi 炸ˤ⯙⛐忁㧋⣙⸷ˣ⣙婆炻ˬデ䞍Ⱥ忳≽ 㱽⇯˭ⳑ㼘䘬㬟⎚ね⠫䔞ᷕ炻ˬᶨᶩ溆䲼䱡䘬㗪攻˭炷“a little time in the pure state” 炸 攳⥳↢㰺戨ⷽ炷Deleuze xi 炸ˤ⽟≺勚⽆Ḵ㇘ⷞἮ䘬Ṣ栆㬟⎚㕟塪炻Ḯ妋暣⼙㗪攻䘬 ˬ岒˭嬲烊䐒渿炽⬱炽㛝】炷Mary Anne Doane 炸⇯⚆⇘暣⼙䘤⯽䘬⇅㛇炻㊯↢暣⼙ ⽆ᶨ攳⥳⯙ᶵ㕟⛘⛐姀抬ˬ„䘤˭炷contingency 炸冯∝忈ˬ䳸㥳˭炷structure 炸ᷳ攻⽀ ⼲ˣ㍁ㇶˤ⛐˪℺䎦䘬暣⼙㗪攻烉䎦ẋ⿏ˣ„䘤⿏ˣℐ㨼㟰˫炷The Emergence of Cinematic Time: Modernity, Contingency, the Archive 炸ᶨ㚠ᷕ炻㛝】⽆暣⼙䘤⯽⎚䘬奨溆炻㊯↢ 暣⼙⛐䘤㖶⇅㛇䲨抬䲼䱡㗪攻䘬䎮⾝烉㚨㖑䘬暣⼙゛姀抬ᶨ䧖ˬ朆䈡⭂䘬ˣ⥦幓㛒 㖶˭ˣᶨ䧖ˬᶵὅ旬幨橼ˣᶵᶲ拐⚢⭂˭䘬㗪攻炻㉵暣⼙䫱⎴㕤䴻㬟᷎ᾅ⬀ᶨ㭝㛒䴻 ≈ⶍ䘬㗪攻炻ᶨ㭝ˬ㗪⺞˭炷duration 炸炻暣⼙ḇ⚈㬌塓㛇⼭⎗ẍ抬ᶳṢ栆䛇⮎䘬ˬℐ 㨼㟰˭炷the archive 炸炷 163 炸ˤ㛝】娵䁢炻暣⼙㑭㕤㋽㋱„䘤冯⇶恋䘬䈡⿏炻怑嵛ẍ婒 㖶䁢Ṩ湤㚨㖑䘬暣⼙䅙堟㕤㉵㬣ṉˣ嗽㰢ˣシ⢾䫱℞Ṿ⨺ṳᶵ⭡㖻㋽㋱⇘䘬ˣ廱䝔 ⌛必䘬柴㛸ˤ䃞侴炻㛝】ḇ㈧娵炻ˬ暣⼙㉵㓅䘬忶䦳ⷠ⮯シ⢾㉵ㆸᶨᾳḳẞ炻⼘栗℞ ⎗㉵⿏炻⇲⻙Ḯ„䘤⿏˭炷23 炸ˤ䈡⇍㗗⛐暣⼙㚱Ḯ奨䛦ᷳ⼴炻暣⼙䘬≇傥徸㻠䓙抬 ᶳṢ栆ˬ䛇⮎˭廱䁢⏠⺽奨䛦炻斄㕤暣⼙㗪攻䘬侫慷炻ḇ⯙ᶵℵ㗗暣⼙㗪攻㗗⏎䫱 㕤„䘤䘬䛇⮎㗪攻炻侴㗗暣⼙⤪ỽˬ䳸㥳奨䛦䘬㗪攻˭炷24 炸ˤ暣⼙⽆ᶨᾳ䲨抬㗪攻 䘬䘤㖶炻㺼嬲䁢ᶨ䧖ˬ㺼↢˭炷performance 炸炻䁢Ḯ栏ㄖ奨䛦䘬ˬ⾓˭デ炻暣⼙䃉⎗ 性⛘徥㯪ˬ䴻㾇㓰䌯˭炷economy 炸烉天性㗪攻㴒屣炻⯙天⃀⎗傥怖㍑ˣ䔍⍣㛝】 媪暣⼙ᷕˬ㬣⍣䘬㗪攻˭炷dead time 炸炷 162 炸ˤ 㛝】⮯暣⼙ᷕ崭↢ˬ⾓˭デ䳸㥳䘬㗪攻䧙䁢ˬ㬣⍣䘬㗪攻˭炻ᶨ⇯⚈䁢㗪攻ᶨ㖎 㓦ℍ⼙⁷䳸㥳ᷳᷕ炻⯙ᶵḮ㬣ṉˤㇳ㊯㊱ᶳ䚠㨇ㆾ㓅⼙㨇⾓攨䘬恋ᶨ⇶恋炻⼙⁷ ṓ㚱䘬㯠㗗ˬ幓⼴˭炷posthumous 炸䘬㯠ˤ㛝】䍑⺬劙㔯ˬexecute ˭䘬暁斄シ佑烉 ˬexecute ˭㖊㗗ˬ墥ἄʷ⬴ㆸ˭炻ḇ㗗ˬ埴↹ʷ嗽㬣˭炻⚈㬌ˬ墥ἄ⼙⁷㗪炻㗪攻⎴ 㗪怕嗽㬣↹˭炷“In executing images, one also executes time” 炸炷 152 炸ˤᶵ忶炻㛝】婯ˬ㬣 ⍣䘬㗪攻˭炻᷎ᶵ堐䣢⤡ず奨⛘娵䁢㗪攻⛐暣⼙ᷕ姣⭂㴰⣙炻ℵḇ⚆ᶵἮḮˤ⤡䧙暣 ⼙㗪攻䁢ˬ㬣⍣䘬㗪攻˭炻⎎ᶨᾳ⍇⚈㗗゛啱㬌↠栗暣⼙⛐䳸㥳⊾ˣ䨢攻⊾㗪攻䘬堐 20 劙伶㔯⬠姽婾 尉ᷳᶳ炻姀ㅞ„䘤冯∝ 㗪攻䘬⇅堟ˤ婒⼿㚜㶭㤂ᶨ溆炻暣⼙㗪攻㬋㗗ᶨ䧖⎗ẍ䓐 ˬ㬣ṉ˭シ尉Ἦ尉⽝䘬∝ 㗪攻ˤ㛝】堐䣢炻ˬ㬣ṉ„䘤䚠Ụᷳ嗽炻⌛⛐㕤ℑ侭䴻 ⷠ悥䃉㱽塓㓞㜇⇘シ佑䘬㟮㝞ᷳℏ˭炷145 炸ˤˬ㬣⍣䘬㗪攻˭⎗傥⽆シ佑䘬㟮㝞ᷳ⢾ ㌚⛇慵Ἦ炻⽟≺勚䘬ˬ㗪攻Ⱥ⼙⁷˭炻㬋⎗ẍ塓䎮妋䁢ˬ㬣⍣䘬㗪攻˭ᷳ℟⼊⏰䎦ˣ ⸥曰⽑彼ˤ暟⣰炽㡕伭炽ⶫ欗䲵炷René Thoreau Bruckner 炸⛐婾㔯˨⣙⍣䘬㗪攻烉 憵㋓栙儎∝ 冯シ⢾ᷣ⮶䘬暣⼙˩炷 “Lost Time: Blunt Head Trauma and Accident-Driven Cinema” 炸墉炻忚ᶨ㬍⺞Ỡ㛝】⮵暣⼙姀抬„䘤冯∝ 䘬婾溆ˤṾ娵 䁢炻暣⼙ⷠⷠ德忶⇣䔓シ⢾炻㏔㺼ᶨ䧖ˬ℟∝忈≃䘬⼴Ⱥ∝ 㗪攻˭炷a productive kind of post-traumatic temporality 炸炷 376 炸烉堐朊ᶲ炻怕⍿栙儎∝ 䘬暣⼙奺刚嵴↢䎦㗪 ʷ䎦⮎䳸㥳䘬㗪䨢炻⁷㗗ˬ⣙⍣Ḯ˭ᶨ㭝䓇␥㬚㚰烊℞⮎∝ 嬻Ṿ忚ℍᶨ䧖ˬ㗪⺞˭ 炷duration 炸炻ᶨ㭝ˬ嬻➢忚∝㕘嬲䁢⎗傥冯⎗䞍䘬㗪攻˭炷Bruckner 376 炸ˤˬシ ⢾˭⚈㬌ᶵ夳⼿⬴ℐ㗗屈朊冯℟䟜⢆⿏䘬ˤ⛐暣⼙墉炻⣙⍣ᶨ㭝㖍ⷠ䓇㳣ᷕ䘬ἳ埴 㗪攻炻㎃Ἦ䘬炻⎗傥㗗傥慷嵛ẍ㻓忶䳸㥳冯䦑⸷䘬∝ 㗪攻ˤ 㛝】ⶫ欗䲵悥㍸⇘Ḯˬ∝ 㗪⺞˭䘬㤪⾝ˤ忁墉䘬ˬ㗪⺞˭炻昌Ḯㅱ㝷㟤 㢖㗪攻婾徘ᷕẋ堐㗪攻㔜橼⛐㗪䨢ᷕ㊩临㳩≽䘬ˬ㗪⺞˭炻㚜⻟婧∝ ˬ⼴怢˭ 炷belatedness 炸冯ˬ⺞怚˭炷prolongation 炸䘬㗪攻䳸㥳ˤ㰰⽿ᷕ⛐˨妋㥳ḳẞ冯 911 ∝ ˩忁䭯㔯䪈墉炻溆↢∝ 䘬ˬᶱᾳ㗪攻˭烉ˬ橼槿˭ˣˬ娖慳˭ˣ冯ˬ慵墯˭炷47 炸ˤ ˬ橼槿˭ẋ堐ḳẞ䘤䓇䘬㗪攻炻Ữᶨ⭂㗗㚱⼭ˬ娖慳˭䘬ḳẞ炻Ṏ⌛㗗䘤䓇⛐ᷣ橼 シ㕁ᷳ⢾ˣ忈ㆸᷣ橼樂☯ᶵ妋䘬ḳẞ炻ㇵ⎗媪ᷳˬ∝ ˭ˤ㎃⎍娙婒炻㗗ˬ娖慳˭䘬 ⽭天炻ḇ⯙㗗∝ 䘬䫔Ḵᾳ㗪攻炻⚆㹗㖊⼨⛘炷retroactively 炸䡢䩳Ḯ∝ 䘬⬀⛐ˤ ⎗㗗炻∝ ᷎ᶵ㚫 ⛐䫔Ḵᾳ㗪攻炻⚈䁢ˬ娖慳˭䷥⎒㗗忤役ˣỮ⌣䃉㱽⬴ℐ㌺昌 ᷣ橼䘬䔹べˤˬ娖慳˭䘬≒≃姣⭂天ˬ慵墯˭炻㕤㗗䓊䓇Ḯ∝ 䘬䫔ᶱᾳ㗪攻ˤ∝ ᶱⰌ䘬㗪攻䳸㥳炻婒㖶Ḯ∝ ˬ⼴怢˭冯ˬ⺞怚˭䘬㓰ㅱ烉∝ 䚳Ụ㸸冒ᶨᾳ忶⍣ 䘬ḳẞ炻Ữ㗗∝ 㗪攻᷎ᶵⷞ柀∝ ᷣ橼⚆⇘忶⍣烊䚠⍵䘬炻∝ ᶵ偗伟ẹ炻ᶵ㕟 ㊹㇘㖊ㆸ娖慳䘬傥慷炻㊯⎹䘬℞⮎㗗ˬ⯂㛒䚳夳˭䘬⮯Ἦˤ ῇ䓐ⶫ欗䲵䘬录⼁炻˪暒句楁㛱˫⎗ẍ塓妋嬨䁢ᶨ悐ˬシ⢾ᷣ⮶˭䘬暣⼙ˤ⌉ 䇦シ⢾幓ṉ炻嬻ᶨ⎹⸛朄䘬俾䙖⣂Ⲟ星ℍ␥㟰⮑㞍䘬╏♪炻ḇ⊦崟Ⲟᶲᶵ⎴㕷塼⛐ 㛶䥨⧇ʉ⽆奨⼙ˬ⾓˭デ⇘∝ 㗪⺞ 21 Ḵ㫉⣏㇘㛇攻ㆾ㗗⍫冯㇘䇕ˣㆾ㗗怕⍿⻟⇞怟⽁ˣㆾ㗗⣙⍣奒Ṣˣッねˣ⍳ねˣ⛇ ⛘䘬∝ ˤ⌉䇦幓ṉ炻シ␛叿ᶨᾳ⸜庽䓇␥ˬ㛒Ἦ˭䘬㗪攻怕⇘∅⤒炻Ữḇˬシ⢾˭ ⛘⮯Ⲟᶲ⯭㮹㍐⎹ᶨ㭝∝ 㗪攻ᷳᷕˤᶨ凔妶婾∝ 㔯⬠ㆾ喅埻炻ⷠẍˬ夳嫱˭ 炷witness 炸䁢ᷣ天斄㆟溆烉∝ 㔯⬠冯喅埻∝ἄ⣂⽿⛐ˬ夳嫱˭炻嬻恋ṃ怕⏎娵冯⡻ ㈹䘬姀ㅞ⼿ẍ慵䎦炻廱⊾ˬ䚳ᶵ夳˭䘬䃎ㄖ⿸ㆤ䁢䚳夳ˣ㔊䚳ˣ䞍忻⤪ỽ䚳䘬⽫ 曰⬱枻冯䗪䗺ˤ⎗ẍ䎮妋炻ˬ夳嫱˭シ⛐Ὣㆸ∝ 䘬䳪䳸炻嬻Ṣˬ㳣↢˭炷 live beyond 炸 ∝ 㗪攻炻慵⚆䎦⮎ᶾ䓴墉ḽ䃞䘬䞍嬀䲣䴙ˤ 6 ᶵ忶炻`⤪奨⼙侭⮵˪暒句楁㛱˫ 䘬㛇⼭炻㗗⼙䇯傥㍸ὃ㕘ᶼ℟橼䘬㬟⎚ℏ⭡⼙⁷ẍˬ夳嫱˭忶⍣炻恋ṾᾹ偗⭂ 天⣙㛃Ḯˤ˪暒句楁㛱˫晾䃞⇣䔓ḮḴ㫉ᶾ䓴⣏㇘䘬㭢㇖㇘⟜炻Ữ㗗㍷丒Ḵ㇘䘬暣⼙ 㯿䈃⃭㢇炻侴ᶼ 1998 ⸜⎚吪剔炽⎚⋡㝷炷 Steven Spielberg 炸䘬㇘䇕懭䇯˪㏞㓹暟】 ⣏ℝ˫炷 Saving Private Ryan 炸ㇵ∃ᶲ㗈炻ⶴ㕗暞䠶ᶼ⃭㺧堐䎦⺷桐㟤䘬㇘䇕䔓朊⼰ 暋ㆸ䁢岋溆ˤ˪暒句楁㛱˫ㆾ怬⎗傥塓䎮妋䁢ᶨ悐㎕曚伶⚳㌺㖍䧖㕷ᷣ佑䘬暣⼙炻Ữ 㗗⯙⁷㜘ἃ䎮炽楔⎗䲵炷 Geoffrey Macnab 炸㊯↢䘬炻栆Ụ䘬柴㛸⛐⤥厲⠊㖑㚱䲬侘炽 ⎚⟼⎱炷 John Sturges 炸䘬˪湹ⱑ┳埨姀˫ 炷Bad Dad at Black Rock , 1954 炸ẍ⍲Ṇΐ炽 ⶽ䇦炷 Alan Parker 炸䘬˪Ἦ䚳⣑➪˫炷 Come See the Paradise , 1990 炸嗽䎮忶ˤ˪暒句 楁㛱˫䘬䧖㕷㬋佑婾婧ㆾ怬䧙⼿ᶲ㓧㱣㬋䡢炻⛐ℏ⭡ᶲ⌣䃉䓂㕘シˤ侴劍㗗天彗䧙 ˪暒句楁㛱˫䘬届䌣炻㗗⇣䔓ḮḴ㇘㛇攻㖍塼伶⚳㕷佌怕⇘⻟⇞怟⽁䘬䴻槿炻⮯㖍 伶怟⽁䆇䘬㬟⎚㏔ᶲ⣏戨ⷽ炻Ṇ伶䞼䨞⬠侭⿸⾽ḇ⣂䃉㱽劇⎴ˤᶵ⎒㗗˪暒句楁㛱˫ 墉仢᷷⮵㖍塼伶⚳奺刚ᾳ⇍⽫䎮䘬㶙ℍ⇾㜸炻℞ᷕ⸦ᾳ㟡㒂㨼㟰䄏䇯慵⺢䘬怟⽁掉 柕炻怬㚱−㍍䄏䇯冯䲨抬䇯䳬ㆸ䘬⼙䇯䇯㭝炻悥䃉㱽㶙ℍ怟⽁䆇䘬㬟⎚冯䓇㳣ˤ䔞 䃞炻㚨ẌṆ伶⬠侭娔䕭䘬㗗炻Ẳ㕗㠭䇦㍸↢䘬嫱㒂ㆸ䁢ᶨ晬㚨⼴䃉伒攳慳䘬ᷣ天⍇ ⚈炻忁嬻˪暒句楁㛱˫㒢僓ᶵḮ䘥Ṣ劙晬ᷣ佑刚⼑ˤ 7 㮓䃉䔹⓷炻⯙⏰䎦㬟⎚䞍嬀懭䳘有怢䘬ㆸ⯙侴妨炻ⶴ㕗䘬暣⼙䇰˪暒句楁㛱˫ 6 䓐婆妨冯㔀徘慵䎦∝ 姀ㅞ炻ẍ䌚⼿⽫曰䗪䗺䘬䎮婾炻⎗ẍ徥㹗⇘ἃ㳃Ẳ⽟炷 Sigmund Freud 炸⋨ ↮ˬ埴≽⊾˭炷 acting out 炸冯ˬ德ⶍ˭炷 working through 炸䘬婒㱽炻⇵侭怬 䔁⛐慵央∝ ね䭨䘬 幓橼堅≽Ⰼ㫉炻⼴侭⇯忚ℍḮ䓐婆妨Ἦ䳸㥳∝ 䴻槿䘬昶㭝ˤ⍫夳ἃ㳃ὅ⽟ˤ䔞ẋ∝ 䎮婾⮵ ˬ夳嫱˭㤪⾝䘬斉慳炻⍫夳ᾖ⬠䲵炽屣䇦㚤炷 Shoshana Felman 炸ẍ⍲⣂㖶⯤炽㉱⌉㝷炷 Dominick LaCapra 炸ˤ 7 Ṇ伶⬠侭⮵˪暒句楁㛱˫䘬㈡姽炻娛夳刦䏛⧄炽㞗剖剁炷 Elena Tajima Creef 炸110-18 ˤ 22 劙伶㔯⬠姽婾 䃉㱽⎌䈡㢖䘬⮷婒䇰䚠㭼ˤ䓂军炻ㆹᾹ⎗ẍ婒炻劍⎒侫慷⼙䇯ᷕ℟橼䘬ね䭨冯ḳ ẞ炻暣⼙䇰˪暒句楁㛱˫ḇ姙䛇䘬᷷┬⎗昛ˤ䫮侭娵䁢炻天䚳夳˪暒句楁㛱˫䘬㕘 シ冯₡ῤ炻⽭枰⽆Ḯ妋∝ 䓙忶⍣廱⎹⮯Ἦ䘬㗪攻䳸㥳叿ㇳˤḇ⯙㗗婒炻奨岆˪暒 句楁㛱˫㗪炻ᶵ傥⎒㊀㲍㕤忁悐⼙䇯怬⍇Ḯ⣂⮹忶⍣炻ㆾⶴ㕗⛐⼙䇯ᷕ㵝䲵Ḯ⣂ ⮹㬟⎚䞍嬀炻侴天奨⮇ⶴ㕗⤪ỽ㑵ἄᶨ䧖ㄊ忇㗪攻デ⿏炻嬻戨ⷽᷕ䘬Ṣ䈑炷䓂军 ⊭㊔戨ⷽᷳ⢾䘬奨⼙侭炸炻 䔁⛐栆Ụⶫ欗䲵㍸⇘䘬∝ 㗪攻ˬ℟∝忈≃˭䘬ˬ㗪 ⺞˭ᷳᷕˤᶲ㔯㍸⇘炻⚆⇘忶⍣炻夳嫱ḳẞ炻ᶨ凔䁢䘬㗗天ˬ㳣↢˭∝ 炻Ữ˪暒 句楁㛱˫朊⮵∝ 䘬䫾䔍⎗傥〘⤥䚠⍵ˤ˪暒句楁㛱˫ˬㄊ˭炻⚈㬌⺞攟Ḯ∝ 㗪攻炻 嬻䇯ᷕṢ䈑ˬ㳣˭炷survive 炸⛐∝ ᷳᷕˤ 8 ⇵ᶨ䧖ˬ夳嫱˭∝ 䘬㕡㱽炻➢㛔ᶲ夾 ∝ 䁢ᶨ䧖㚱⼭㱣䗺䘬䕭䕯炻⎒㚱⚆⇘∝ 䘤䓇䘬㗪䨢炻怬⍇ḳẞ⍇⥼炻㕡⼿㒢僓 ∝ 姀ㅞ䘬䲦丷烊⼴ᶨ䧖ˬ㳣˭⛐∝ 㗪攻ᷳℏ䘬䫾䔍炻⇯娵䁢∝ ˬ㗪⺞˭ⷞἮ ⿅ょ∝㕘䘬㨇㚫ˤ↙大Ʉ⌉曚⿅炷Cathy Caruth 炸婒忶炻晾䃞Ờ晐叿∝ 侴Ἦ䘬䴻ⷠ 㗗䖃㤂ˣ暋⍿ˣ⣙句䫱屈朊䘬ね䵺炻∝ ℞⮎᷎ᶵ㗗ᶨ䧖ˬ䕭䕯˭炷pathology 炸炻侴 㗗ˬᶨ忻䱦䤆冯䎦⮎斄Ὢ䘬㟡㛔媶柴˭炷Unclaimed Experience 91 炸炻ᶵ㕟䜋Ὣ䈥㴱℞ ᷕ䘬ᾳṢ慵妋ˣ慵䳬䱦䤆冯䎦⮎䘬䳸㥳ˤ 䔞䃞炻ㆹᾹ天⓷烉∝ 㗪攻⛐˪暒句楁㛱˫墉䘤㎖ḮṨ湤㓰䓐烎∝ ˬ㗪⺞˭ ⛐⼙䇯ᷕ䨞䪇䓊䓇ḮṨ湤㧋䘬ˬ∝忈≃˭烎⼙䇯ᷕ䘬㱽⹕婧㞍炻ᶨ攳⥳ㆾ⎗ẍ塓䎮 妋䁢䎦⮎ᶾ䓴ẩ⚾⊾妋⌉䇦㬣ṉ∝ 䘬㕡㱽烉㩊ˣ彗暁㕡ἈἮㆹ⼨炻㚱嫱Ṣ䘬昛 徘炻⯙ⷠ䎮侴妨卓ᶵ㗗䁢Ḯ怬⍇ḳẞ䘤䓇䘬䎦⟜炻᷎䓙昒⮑⛀ἄ↢⇌㰢炻㔚⭂∝ 䘬屔ả㬠Ⱄˤ䃞侴炻㬋⤪䫮侭⛐⇵ᶨ䭨䴻㊯↢䘬炻⼙䇯ᷕシ⚾ˬ夳嫱˭∝ ⍇⥼ 䘬㱽⹕⮑㞍炻ᶵ㕟塓⎬刚⎬㧋䘬⚆ㅞㇻ㕟炻忁ἧ⍇㛔シ⛐䳪䳸ˣ嶛↢∝ 䘬㱽⹕⮑ ⇌炻⍵侴ㆸḮ⺞⯽∝ ˣ╂崟⼙䇯ᷕṢ䈑∝ 姀ㅞ炻忚侴Ὣἧ忁ṃṢ䈑㊩临ˬ㳣˭ ⛐∝ ᷳᷕ㚨ᷣ天䘬准⎘ˤ椾⃰炻ˬ⚆ㅞȺ⼙⁷˭嬻㴖≽㻓⺞䘬∝ 㗪攻㺚ℍḮ䎮䔞 䳸㥳㢖♜䘬㱽⹕炻⼙䇯䘬䃎溆忪䓙⌉䇦␥㟰⺞⯽军俾䙖⣂ⲞᶲḴ㫉ᶾ䓴⣏㇘ᷳ⇵冯 ᷳ攻㕷塼ℙ䓇冯ṯ【䘬㻓攟㬟⎚ˤ⯌㚱䓂ᷳ炻㱽⹕⮑䎮䘬忶䦳攳┇ḮⰌ䔲䘬㗪䨢炻 8 ˬ㳣˭⛐∝ ᷳᷕ䘬㤪⾝炻↢冒↙大Ʉ⌉曚⿅炷Cathy Caruth 炸炻˨㙜≃冯㗪攻烉㳣⛐∝ ᷳᷕ˩ 炷“Violence and Time: Traumatic Survivals” 炸ˤ 㛶䥨⧇ʉ⽆奨⼙ˬ⾓˭デ⇘∝ 㗪⺞ 23 嬻姀ㅞ徸㻠嶐崲ᾳṢ冯兂刚䘬喑䰔烉旧䇦䈡䘬姀ㅞ忋ᶲḮ屨㉱㕗䘬姀ㅞˣ屨㉱㕗䘬 姀ㅞ㶟㍍⇘ᶨ晬䘬姀ㅞˣᶨ晬㫸映㇘䇕䘬姀ㅞẲ㕗㠭䇦Ṇ㳚㇘⟜䘬姀ㅞṌ䔲ˣẲ 㕗㠭䇦䘬㇘䇕∝ ⇅よ怟⽁䆇䓇㳣䘬∝ 㚜㗗暋↮⼤㬌ˤ䈡⇍ῤ⼿ᶨ㍸䘬㗗炻⛐ 䎦⮎ʷ䎦㗪䘬㱽⹕⟜㘗ᷕ炻䘥䧖Ṣ冯㖍塼⯭㮹⛐㕩倥ⷕᶲ⎗媪㤂㱛㻊䓴ˤ昼叿㱽⹕ ᷕ攻䘬崘忻炻ℑᾳ兂刚ˣℑ䧖㕷佌⎬㒂ᶨ怲炻⡩⢀↮㖶ˤ䃞侴炻⼙䇯德忶ㄊ忇㗪攻 デ⿏䘤⯽↢䘬⿅䵕炻⌣嶐崲Ḯ㱽⹕䎦⮎ʷ䎦㗪䘬㕷塼䓴䶂炻∝忈Ḯᶨᾳ㶟暄拗㍍䘬 ∝ 㗪䨢炻嬻Ἀ䘬姀ㅞ忋ᶲㆹ䘬姀ㅞ炻䘥䧖Ṣ䘬姀ㅞ㶟暄Ḯ湫䧖Ṣ䘬姀ㅞˤ˪暒句楁 㛱˫嬻⼙䇯ᷕ䘬Ṣ䈑ˬ㳣˭⛐∝ ˬ⼴怢˭冯ˬ⺞怚˭䘬㗪攻㓰ㅱ墉炻᷎啱㬌㍊䳊 Ḯᶨᾳ㕘䘬⿅䵕炻嬻Ḵ㇘∝ 㺚忚俾䙖⣂Ⲟᶲ㭷ᶨᾳ㕷佌炻ḇ嬻怟⽁䆇ᶵℵ⎒㗗⮰ Ⱄ㕤㖍塼伶⚳Ṣ䘬㬟⎚姀ㅞˤ ⚃ˣˬㄊ˭䘬ΐ䎮 忁ᶨ䭯婾㔯⽆妶婾˪暒句楁㛱˫䭨⣷䶑ㄊ䘬⓷柴↢䘤炻㜸婾⼙䇯ᷕⰌ䔲䘬ˬ姀 ㅞȺ⼙⁷˭炻㚨⼴᷎娎叿⮯⼙䇯ᷕ㻓⺞䘬㗪攻嬨䁢ᶨ䧖∝ 㗪攻炻婾嫱∝ ᶵ㕟ˬ⼴ 怢˭冯ˬ⺞怚˭䘬㗪攻傥慷炻⮯˪暒句楁㛱˫䘬戨ⷽ掉⁷暯⼿䰱䠶ˤˬㄊ˭⛐⼙䇯ᷕ 㺼嬲ㆸᶨ䧖䫾䔍烉ᶵ⼿ᶵㄊ炻⚈䁢ᶵ゛⿍叿⮯∝ 攳┇䘬ˬ㗪⺞˭斄攱烊䃉㱽ᶵㄊ炻 ⚈䁢∝ ḳẞ䘬㓰ㅱ䃉㱽塓⚰旸㕤ᶨ㗪ᶨ⛘ˤ∝ 䘬㷚㝻⿏デ㝻≃嬻䈥㈗⛐℞ᷕ 䘬Ṣˣḳˣ㗪ˣ䨢炻⁷㺦暒䎫ᶨ㧋⎹⢾⺞⯽炻嬻シ佑㰺㚱䳪溆ˤ侴䚠⮵㕤˪暒句楁 㛱˫䘬ˬㄊ˭炻⼙姽Ᾱ天㯪ˬ⾓˭炻昌Ḯ徥㯪⁛䴙奨⼙䎮婾⭂佑䘬ˬ⾓˭デ炻⛐㚜 㶙䘬䱦䤆Ⰼ㫉ᶲ炻㗗ᶵ㗗⚈䁢ᶵ゛ˣᶵ栀朊⮵⼙䇯┇≽䘬∝ 㗪攻炻㚜ᶵ㔊⍣㈲㎉ ∝ 㗪攻䴎Ḱ䘬シ佑慵䳬㨇㚫烎䔞奨⼙侭⿍㕤゛天䁢˪暒句楁㛱˫㈦⇘ˬ⬴⼊˭炻⿍ 叿゛䴎ᶨᾳ㧁䰌炻婒忁悐⼙䇯℞⮎⯙㗗ᶨ悐㓭⺬䌬嘃䘬ッね暣⼙ 9 ˣᶨ悐ᶵ⣈䱦⼑ ⇢㽨䘬㇘䇕暣⼙ˣᶨ悐樂あᶵ嵛ˣ檀㼖㫈仢䘬媨㭢㍐䎮暣⼙ˣㆾ㗗ᶨ悐㉓叿䧖㕷㬋 9 ˪暒句楁㛱˫⛐⎘䀋䘬⮷婒嬗㛔冯⼙䇯嬗⎵炻悥㗗䓐ˬッ⛐⅘暒䳃梃㗪˭炻ㅱ⼙䇯ᷕ梦㺼Ẳ㕗 㠭䇦䘬䓟㗇Ẳ㢖炽暵炷 Ethan Hawke 炸㉵忶䘬㴒㻓ッね䇯˪ッ⛐湶㖶䟜㙱㗪˫炷 Before Sunrise ; 1995 炸炻㖶栗⛘゛⇑䓐Ẳ㢖炽暵䘬䞍⎵⹎冯㴒㻓ッね䇯䘬㧁䰌炻埴扟˪暒句楁㛱˫ˤ 24 劙伶㔯⬠姽婾 佑⢾堋䘬䘥Ṣ劙晬ᷣ佑暣⼙炻忁ṃ㈡姽侭㗗⏎゛䓐䎦㚱䘬⼙䇯栆✳㟮㝞Ἦ婾嫱˪暒 句楁㛱˫䘬ᶵ嵛炻⤥㉺䳽朊⮵忁悐暣⼙㻓↢Ḯ㟮㝞䓴䶂䘬㗪攻デ⿏烎婒⼿㚜㖶䡢ᶨ 溆炻˪暒句楁㛱˫䛇㬋➢忚䘬⛘㕡炻暋忻ᶵ㗗⛐⼙䇯抒昛∝ 㗪⺞ᷳ㗪炻傥⣈㊹崟 䘬嶐䧖㕷倗专炻䈡⇍㗗㖍塼伶⚳怟⽁䆇䘬㬟⎚嶐崲㗪攻冯䧖㕷䔮䓴䘬㷚㝻≃烎Ṽ䳘 奨⮇炻䧖㕷㬏夾⛐伶⚳䣦㚫ᷕ晾塓℔攳ⓦ㡬炻ᶵ⎴兂刚Ṣ䧖䘬ⶖ䔘冯䓴䶂⌣㗗伶⚳ 㔯⊾冯㖍ⷠ䓇㳣墉⽫䄏ᶵ⭋䘬シ嬀㸾⇯ˤ伶⚳䷥䴙⎗ẍ䁢怟⽁䆇䘬㬟⎚忻㫱炻Ữ㗗 ⛐ᷣ㳩㔯⊾娵䞍ᷕ炻怟⽁䆇䘬㬟⎚ㅱ娚㓦⛐忶⍣炷㗗伶⚳㓧⹄ˬ忶⍣˭䘬拗婌㓧䫾 忈ㆸ㬌ᶨ㬟⎚ḳẞ炸ˣㅱ娚⮰Ⱄ㕤㖍塼伶⚳Ṣ炷㖍塼伶⚳Ṣ㗗㬌ḳẞⓗᶨ䘬⍿⭛侭炸ˣ ḇㅱ娚塓昼暊㕤伶⚳ᷣ㳩㬟⎚ᷳ⢾炷㬌ᶨḳẞ⣏悐↮伶⚳Ṣ䃉䓂⸚Ὢ炸ˤ 10 ˪暒句 楁㛱˫⽆⌉䇦シ⢾㬣ṉ䘬ḳẞ㉵崟炻⌣ḇˬシ⢾˭⛘㉵↢ḮᶨᾳṢㆹṌ㚫ˣ䧖㕷䓴 䶂䒎妋䘬∝ 㗪䨢ˤ⛐⼙䇯ᷕ炻怟⽁䆇䘬㬟⎚㓰ㅱ嶐崲ḮḴ㇘㗪䨢䘬Ὗ旸炻⛐㇘䇕 䴻䳸㜇Ḯḅ⸜䘬俾䙖⣂Ⲟᶲὅ䃞检㲊䚒㻦ˤ⼙䇯ᷕ炻怟⽁䆇䘬ず∯ḇᶵ⼙枧 Ḯ㖍塼伶⚳㕷佌烉怟⽁䆇ᶵ⎒㗗⇅よ䘬∝ 炻ḇ㗗Ẳ㕗㠭䇦䘬∝ 炻㗗ᶨ晬䘬∝ 炻 㛒▿ᶵḇ㗗⌉䇦⍲℞⭞Ṣ䘬∝ ˤ˪暒句楁㛱˫䘬姀ㅞ徜⚰炻㈲怟⽁䆇䷼忚ᶨᾳ伶⚳ 䣦佌ℙ㚱䘬⚆ㅞ墉炻ㆸ䁢㔜ᾳḴ㫉ᶾ䓴⣏㇘∝ ᷕ暋ẍ↮√䘬ᶨ悐↮ˤ 䍵⥖炽ⶫ嗕䈡⇑炷 Jenny Brantley 炸⛐ᶨ䭯䁢⮷婒䇰˪暒句楁㛱˫彗嬟䘬㔯䪈墉炻 溆↢ˬ急ᶳ姽㕟˭炷 a rush to judgment 炸㖊㗗⮷婒㍊妶䘬ᷣ柴炻ḇ㗗媠⣂㈡姽侭䉗 ᶳ䘬䚠⎴㮃䕭ˤⶫ嗕䈡⇑ᷳẍ㑘⮓忁䭯㔯䪈炻ᷣ天㗗䁢Ḯ⚆ㅱ 1999 ⸜伶⚳⽟ⶆ俾 ⬱㜙⯤⤏ⶪ炷 San Antonio 炸ᶨᷕ⬠䤩㬊侩ⷓ㊯⭂⬠䓇教嬨˪暒句楁㛱˫䘬ḳẞˤ 㟉㕡䘬䎮䓙炻㗗˪暒句楁㛱˫墉ᶵ䃉ˬ丒倚丒⼙䘬㙜≃ˣ䧖㕷ῷ➟ˣ曚橐ね刚䪈䭨˭炻 ⚈㬌ᶵ怑⎰ᷕ⬠䓇教嬨炷 Brantley 395 炸ˤⶫ嗕䈡⇑⌣娵䁢炻⮵˪暒句楁㛱˫急ᶳ䤩Ẍ 䘬Ṣ炻℞⮎᷎㰺㚱Ṽ䳘嬨ㅪ⎌䈡㢖䘬⮷婒ˤ⤡怬㊯↢炻˪暒句楁㛱˫墉Ṣ䈑ᷳ攻䘬婌 妋冯⼤㬌平ˣ側⎃炻ḇ⣂㗗ˬ急ᶳ姽㕟˭䘬䳸㝄烉旧䇦䈡䓙㟒晬凡ᶲ㝻埨䘬欂⍱ ㈲ㇳ炻㍐婾㟒晬媨㭢Ḯ⌉䇦烊屨㉱㕗䓙⌉䇦俛⼴䘬憵㋓ 炻㕟⭂㭢Ṿ䘬Ṣᶨ⭂㗗ᾳ 10 斄㕤怟⽁䆇姀ㅞ⛐伶⚳㬟⎚䘬怲䶋ỵ伖炻⍫夳⌉㳃䏛炽彃㘖㢖炷 Caroline Chung Simpson 炸ˤ彃 㘖㢖䓐ˬᶵ⛐⟜䘬⬀⛐˭炷 absent presence 炸ᶨ娆炻婒㖶怟⽁䆇䘬䚠斄叿徘晾䃞⼰⣂炻Ữ⣂⛐Ṇ伶 冯㖍伶䣦佌ᷕ塓妶婾炻⛐伶⚳ᷣ㳩㬟⎚婾徘ᷕ炻怟⽁䆇䘬姀ㅞ䃉嵛庽慵炻晾䃞ˬ⬀⛐˭炻⌣䴻ⷠ ˬᶵ⛐⟜˭ˤ 㛶䥨⧇ʉ⽆奨⼙ˬ⾓˭デ⇘∝ 㗪⺞ 25 ㅪ∵忻䘬㖍㛔Ṣ烊⌉䇦䘬㭵奒⚈䁢⭖㛔冯㴟䲵⭞ㆠ侴㛒㰢䘬⛇⛘屟岋䳃䇕炻⯙娵䁢 㟒晬㚱嵛⣈䘬≽㨇㭢Ḯ⌉䇦ˤ侴劍⮯夾慶㓦⣏⇘⮷婒⼙⮬䘬伶⚳䣦㚫㬟⎚炻ˬ急ᶳ 姽㕟˭䘬ἳ⫸怬㚱伶⚳㓧⹄⚈㖍塼伶⚳ㆸ⒉䘬㖍㛔埨䴙炻⯙㆟䔹㔜ᾳ㕷佌⮵伶⚳䘬 ⾈婈烊㟒晬ḇ⚈㚦䴻怕⇘伶⚳䣦㚫普橼ᶵᾉả炻⛐⌉䇦␥㟰䘤䓇ᷳ⇅ᶵ栀娛徘䛇䚠ˤ 忁ṃἳ⫸炻昌Ḯ⌘嫱Ḯˬ急ᶳ姽㕟˭䘬⌙晒炻ḇ婒㖶Ḯ兂刚↮慶⼨⼨㗗ˬ急ᶳ姽㕟˭ 㚨➢㛔䘬ὅ㒂ˤ⮷婒墉㭷ᾳ奺刚悥佺ㄋ㕤⮯ᶵ⸠冯䀥暋炻⾓忇⛘㬠㕤冯冒兂刚 ᶵ⎴䘬㕷佌炻侴ᶵ栀シㄊᶳἮ炻ˬ⿅侫急ᶳ姽㕟ˣ急䃞䘤⾺⎗傥ⷞἮ䘬⼴㝄˭炷Brantley 400 炸ˤ ⶫ嗕䈡⇑岒䔹ˬ⾓˭䘬㓰䓐炻⤡䘬婾溆ᶵῷᶵῂㅱḮ˪暒句楁㛱˫暣⼙䇰⏰ 䎦䘬ˬㄊ忇˭㗪攻ΐ䎮ˤˬᶵ急ᶳ姽㕟˭䘬ΐ䎮ン⹎炻㚜⎗ẍ⸓≑ㆹᾹ䎮妋⼙䇯䳸⯨ 䘬暁慵シ佑ˤ堐朊ᶲ炻Ẳ㕗㠭䇦㍸↢㕘䘬嫱㒂炻㲿⇟Ḯᶨ晬䘬⅌⯰炻⛐∯ね䘬抒昛 ᶲ怬⍇Ḯ⌉䇦␥㟰⍇⥼炻ḇ⁷㗗嬻˪暒句楁㛱˫⛐ᶨ忋ᷚ⺞⬽冯僓年ᷳ⼴炻䳪㕤䌚 ⼿Ḯᶨᾳ∯ねˬℐ尴˭ˤᶵ忶炻㎃ᶨᾳ奺⹎Ἦ䚳炻Ẳ㕗㠭䇦䘬嫱㒂炻晾䃞慸㶭Ḯ⌉䇦 䘬㬣⚈炻Ữ㗗俾䙖⣂Ⲟᶲ⚈⌉䇦ḳẞ塓㊹崟䘬䧖㕷䞃䚦炻⌣ṵ䃞ㆠ侴㛒㰢ˤ䔞㱽⭀ ⭋ⶫ昒⮑⛀妋㔋㗪炻㱽⹕ᷕᶨ䇯嫩䃞ˤ˪暒句楁㛱˫㏔㺼䘬∝ 㗪攻䛇䘬⯙㬌ㇻỷḮ ╶烎怬㗗⛐昒⮑⛀妋㔋䘬恋ᶨ⇶恋炻ⶴ㕗℞⮎㗗嬻㱽⹕⮑㞍䘬ね䭨ᶵḮḮᷳ炻ᶵ 䴎昒⮑⛀ˬ急ᶳ姽㕟˭䘬㨇㚫炻⎴㗪ⶏ⥁⛘⮯姽㕟㬟⎚ˣ㕉㕳∝ 䘬㡺⫸Ṍ䴎Ḯ戨 ⷽᷳ⢾䘬奨⼙侭炻⮯∝ ≽傥⁛埵炷transfer 炸⇘⎎ᶨᾳ㗪䨢烎 26 劙伶㔯⬠姽婾 ㆤ䞷㦇䥽 ġ Ansen, David. “A Blue Christmas.” Newsweek 20 Dec. 1999. 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Print. Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” 1975. Film Theory and Criticism: Introductory Readings . Ed. Leo Braudy and Marshall Cohen. 5th ed. New York: Oxford UP, 1999. 833-44. Print. Pryce, Vinette K. “Just ice Prevails in Snow Falling on Cedars .” The New York Amsterdam News 6-12 Jan. 2000: 20. Print. Simpson, Caroline Chung. An Absent Presence: Japanese Americans in Postwar American Culture, 1945-1960 . Durham: Duke UP, 2001. Print. “Talking with Scott Hicks.” The Shooting Script of Snow Falling on Cedars. By Ron Bass and 28 劙伶㔯⬠姽婾 Scott Hicks. New York: Newmarket P, 1999. 126-55. Print. Travers, Peter. “Movies.” Rolling Stone 3 Feb. 2000. Academic Search Premier HTML. 4 pages. Web. ⻝⮷嘡ˤ˨⎘⊿ㄊ≽ἄ烉幓橼 -❶ⶪ䘬㗪攻栗⽖˩ˤ˪ᷕ⢾㔯⬠˫36.2 炷2007炸烉 121-54 ˤ 嵁ặ㞙嬗ˤ˪ッ⛐⅘暒䳃梃㗪˫ˤ⣏堃Ʉ⎌䈡㢖炷David Guterson 炸叿ˤ⎘⊿烉庽凇炻1998 ˤ 㰰⽿ᷕˤ˨妋㥳ḳẞ冯 911 ∝ ˩ˤ˪䔞ẋ˫207 炷Nov. 2004 炸烉 42-55ˤ ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 7 ς'ɳΘţÁʓƑɩ@ ͳÇ?ωˬ̯̱ā1 Ś! ƕ! Ľ Á! ! » ຍԫᒧᓵ֮झֲᇔભഏᔢൔᛜΰ relocation camp αඖ૪ऱ ႞ᓵு໌אԫଡمऱᔢൔᛜඖ૪ΔՈᇢቹ৬ژᖵΔಘᓵਝ 1 J;>ˬz̃qƗ½Ʋ ˌɳΘ;)ˌƯ"@?JȦ^˶Ƒɩ;ς'; ţÁÜXO&Ȧ V 95-2411-H-003-039-MY2 WqƗpʥ<Ç̈˗ŹȖʧ $˶̂;ĂŔά:]$ŢŠF«ƌqƗɱʪŮ 㜑;ųΫǤ´:ΏǵÜΫ Ϙƙ$Ɲʧ< ?ωˬ̯̱āL«;i˧ȆÇ^{ “relocation camp” ;“internment camp” ; ţ “concentration camp” ǐƒˉ:ˬϞɑ˶ȹ>ƒˉͣϧ “war relocation center” ִ 3 ڣ 8ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 سΖᓵ്֮լലֲભᔢൔᛜီԫᑏ࿇ڤऱᔢൔᛜඖ૪ᑓ֨ ᖵࠃٙΔ܂ऱᖵࠃٙΔࠀലࠡီԫଡᖵ໌႞Κװመڇ אװࠩᖵመڃऱࡳழ़Δඖ૪ᔢൔᛜਢԱسࠡ࿇ڶᔢൔᛜ ᖵ໌႞Δᔢൔᛜಖᖋऱψழၴ৵ࢤω܂ᝫኔΙ ழ़Δඖ૪ᔢൔᛜऱૹٵຑᢀլאΰtemporal belatedness αঞߩ រՈլ٦ਢኔਉൺΔۖਢຘመլឰऱᖵඖ૪ፖႚऱመ ԫଡנࠃٙऱᓢᚰԺፖཱྀԺΖᓵ֮รԫຝ։٣֍೬ۼװ࿓Δ ᓵ૪ൣቼՀᓿղٵլڇભᔢൔᛜऱඖ૪ΔԱᇞᔢൔᛜᖵֲ ࠐऱᓵ૪რොፖওૻΖڤඖ૪ᑓٵრᆠΔࠀಘᓵຍࠄլٵऱլ ൷ထΔृག֧ࢮਹΰ Dominick LaCapra αΕ৸ΰ Cathy ఄ௳ΰ Jill Bennett α֗אCaruth αΕ້ཏᥞΰ E. Ann Kaplan αΕ ۶ᒬທಖᖋڕᖂृኙ໌႞ዌፖᖵᐊऱߠᇞΔܑਢ໌႞ ழܒޅრᆠऱ֮֏ڶ۶౨ப᠏ڕழऱ೯౨Δ৸໌႞ழၴ Ζᓵ່֮৵ԫຝٝൕڤԫଡඖ૪ᔢൔᛜऱᄅᑓנᖄ֧ڼ៶ၴΔࠀ ΰ John Sturges αചᖄऱπ႕ࡿٳ႞ሀፖழऱߡ৫ᔹᦰჃ໌ ໟۨಖρΰ Bad Day at Black Rock ; 1954 αΔຘመኙֲભᔢൔᛜᖵ ऱᔹᦰΔ൶ᔢൔᛜ໌႞யᚨઠ။ழၴፖගᇔᢰڤԫጟ໌႞ ౨Ζױऱ ƛȧ@ ֲᇔભഏᔢൔᛜΔ໌႞ΔழၴΔᖵΔಖᖋΔጟගΔπ႕˧ ࡿໟۨಖρ ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 9 Historical Memory and Traumatic Time: Narrating Japanese American Relocation Camps Hsiu-chuan Lee Abstract Investigating the narrative history of Japanese American relocation camps, this paper studies the changing modes of relocation narratives and seeks in the efforts of activating the relocation’s traumatic contagious force a new model and ethics of writing history. I propose to read the Japanese American relocation not simply as an event that occurred in a historical past but as a trauma. In the case of the former, the relocation studies call for a return to a specific time and place and a restoration of the Japanese American internees’ experiences. In the case of the latter, emphases are shifted to the impact of the relocation, whose transferential potential is not confined to any singular time, place, generation, or ethnic group. The first part of the paper surveys the significance and limitations of existing narratives that give the relocation different meanings. The second part draws on Dominick LaCapra, Cathy Caruth, E. Ann Kaplan, and Jill Bennett to explore the temporal belatedness of trauma and locate in “traumatic time” a space of critical negotiations and conceptual innovations. The last section analyzes John Sturges’s Hollywood feature Bad Day at Black Rock (1954) as a textual example to illustrate the contagiousness of relocation memories across time and beyond the Japanese American community. Keywords : Japanese American relocation, trauma, time, history, memory, race, Bad Day at Black Rock Associate Professor, Department of English, National Taiwan Normal University. ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 10 Օᖏཚၴᔢൔᛜऱ໌႞ڻᇔભഏषᆢ࿇୶ऱመ࿓խΔԲֲڇ ᇔભഏᔢൔᛜΛࡺ۰ֲ֜ؓڶᆜΖ 2 ۶ᄎۯᖵԫऴᖕૹ ભഏ֟ᑇගᇔխഄԫᔡ࠹ՕᑓګऎࡾऱֲભषᆢΔ۶ᄎ ભഏحᔢൔΔࣅᆃ࣍ભഏ۫ΕতຝփຬऱषᆢΛಾኙຍᑌԫᑏॿ ۶۞ڕऱᖵࠃٙΔભഏࡴֱۥࣔ᧩ጟගᆠڶᦞΔࠠاֆ ࿇୶ऱੌᓵ૪Λᔡນ໌ژցගᇔ٥ڍᒳ࣍گႽࠡᎅΔֱ౨ലհ ൺΕፖዝᢂຍᖵΛە۶ৱΕڕΔԾᇠז֗ࠡ৵ګ႞ऱֲભ ඖ૪ֲᇔભഏᔢൔᛜऱᖵΔፖڇբᆖၞԵԲԼԫધऱڇۖ אױழֺለΔڕ־ڕሎ೯ս֘ؓ֗אՕᖏཚၴΕࠡ৵ΔڻԲڇ ऱฃࡉრᆠΛٵ۶լڕנ࿇୶ Ղംᠲא৵ऱֲભ֮֏ፖᖵᓵ૪ᅝխΔאسՕᖏ࿇ڻԲڇ Δᔢൔזڣᖏ৵ऱնΕքϤ֗אԲᖏཚၴڇಘᓵΖנ༼چլឰ ࣍اฝءᛜऱᖵ࿓ԫီֲᇔભഏषᆢ࿇୶ऱឰါរΖֲ ભࠅᇔ໎קګဎԳז۫ࡾΔ࠷ؓ֜֗ڎದၞԵזڣ 1880 ભڇՠऱࠐᄭΙࠩԱֲભ֜ؓᖏञᡨ࿇ছΔֲᇔԳՓբᆖ ᐚཤڜࡐऱषᆢΖཤඕ֛ΰ Toshio Mori αُᅃנഏ۫ࡾ࿇୶ ΰSherwood Anderson απ՛ৄਚࠃρΰ Winesburg, Ohio ; 1919 α ᖩᛍρڠףΔᐷᐊԱԫߓ٨ᒧ՛ᎅΔ৵ࠐႃπڤऱݮ ছֲભאࠥԱԲᖏچ೯سΰYokohama, California ; 1949 αΔ༉ ܛᖏΔඝءֲٻणउΖྥۖΔੴఇཽࠃ᧢հ৵ભഏسषᆢऱ 2 ?ωˬ̯̱ā˶ȭLɭȆÇZ1@?ÅL 1941 h 12 A 7 ?ΫʿϒQ ǤŲ:Ȇˬ¦?JΞΜ:ʪŃĪV Franklin Delano Roosevelt WĹ"L 1942 h 2 A 19 ?T; 9066 λ®ϞȓPV Executive Order 9066 W:̌cÅ>σ+̏ )<&˓Ƀq> ÅLjÇΜˑˮ V military areas W:̏ e;ˀ͌ɂeţȃ Re°;]$NJØƩȬeͩa?ωȿPFjɠ(̯¤ŔƑ˭α˶ ɸ B^5 V assembly center W:+ÖƼʘ¤þŀΪƠae;NJςƩȬe; zʪɳRe;ɻ͓ʙe; e;˙ Pe;ţ̸̒ªe¡ɓðɭˆψKˑ ˶̯̱ā<Ɂ% 110,000 ?ω$D̮Ǯ̫ǰ̯̱:Ǧ^a]3> \ ʒˬ˶ˬP:Lŷ{ »VΓLj¡ɭ͔ǾȖ×˶̀ˎa1:dÍL̊ ǂ˶Ƒɩ˯ɋˬ°Ƀ˶ŋʱ<̯̱āL#Μǝřaκ¡˧< ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 11 ኙ֜ؓ۫ࡾֲભषᆢ୶ၲᓳΕၚΕݹᣤΔၞۖႃ᧯ൎࠫᔢ ڇଡԳ֗א࿇ֲભषᆢᣤૹऱ։ါΔ֧ڼڂൔ۟փຬᔢൔᛜΔՈ ᖲΖ࠹ભഏऄ৳ૻࠫۖྤൕូ֏ભഏऱԫٲٵഏ୮ፖߪٝՂऱᎁ ഏᤄፖᎁڇऱԲΰ nisei αΔاભഏֆܛۖسΰ issei αΔࡉ ભഏऱψ१ڃ࠹ඒߛΔհ৵٦१ءֲڃ܀ભഏΔسנՂ։ါΙٵ ڂԲΔה९ऱࠡګભഏڇભഏࠀسנભԲωΰ kibei αΔ 3 ፖ ԵٔΕ״൷࠹ભ૨ᐛڶᎼΙᙟ৵ᝫسඒߛ֮֏ෘᄭऱฆۖข Եٔऱψধഏ՛ωΰ no-no״ԵᖏञऱֲᇔભഏԳΔፖࢴᐛף ᇷᘜԵڶboy αΔ 4 ߒຶᓴਢ࢘ᇨऱભഏԳΕᓴਢ୭ᆢհ್Εᓴ ੌભഏषᆢऱञΖᖏ৵ᔢൔᛜᣂຨ৵Δຝ։ֲᇔԳՓ૰࣍ભ ࢨृᔢൔ۟ભഏګᑇֲભڍΔۖءഏषᄎऱᑅრᙇᖗಬֲ ࠩભഏ۫ࡾΔݦڃऱᖲᄎΙࢨृ܂ᖂፖՠޣ༈ބխ۫ຝࢨࣟࡾΔ ᔢൔ࣍ભګᆖᛎᚘԺΔڂऱ୮ႼፖषᆢΙࢨृڇژඨૹ৬բլ հၴऱᔢൔ໎ՠΖֲભषᆢᔡນᠦཋࡎሎΔ۞ਢլ༚ᖏছڠٺഏ षᆢᕩፋԫ᧯ऱ٠ནΖ ᦞሎ೯ᘋದΔጹ൷ထਢاඡཚΔભഏ֟ᑇගᇔזڣࠩԱքϤ ऱࠅભ֮ᖂፖ֮֏ሎ೯Δᔢൔᛜऱᖵૹᄅ࠹ࠩૹီΖזڣԮϤ ཚΔᔢൔᛜऱؓ֘ሎ೯ΰ redress movement αഹದΔֲأזڣԮϤ ԫᖵլ٦ᕱᜢΔԺૹᄅ࿇ൺᖵటઌΔᅮڼᇔભഏषᆢኙ 3 “Kibei” \Ü3˶˕Ε> ǡ ; ̬ :]ǕĭȊ \ʒˬ:ÅL? J͔ǾͯƠ:κǕ/̬Hˬ˶?ω$D< 4 “No-no boy” ϕ#ΜŏɩɹǟÅȨ ˶?#U<ΜƑˬϞɑL 1943 h 2 A»Ũɱ{hõ ̘˶?ωpĦHǕ " ɝϝ˟ǹ V loyalty questionnaire W:¦˟ǹ^Ǥþ½˧ƛ;W̊ ǥˣ́ɩ ˶˟ ɗĆǤ cæȸ HǕ ̈:àdĭ> “no-no boy” ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 12 ٽᦞᔡլاԲᖏཚၴֆڇભषᆢֲီإআભഏਙࢌፖੌषᄎ ߱վֲભᔢൔᛜᖵऱઔߒፖזڣऱࠃኔΔՈದൕԶϤحॿ ΕՑ૪ᖵΕ܂ठଅᑪΖՕၦऱᚾூઔߒΕᖂᓵ૪Ε֮ᖂ໌נ Ղ໑ढ塢ऱᘋ৬ΔףठΔ٦נᐙቝಖᙕऱהધᙕׂΕᏣൣׂΕፖࠡ ᧢ऱݎპسᆜขۯભ֮֏ፖߪٝᓵ૪խऱֲڇࠌᔢൔᛜᖵ ڣᖲऱᔢൔᛜࠃٙΔ२༓Լٲٵषᆢᠦཋፖߪٝᎁګທء֏Ζ ਬԫᐋ૿ՂΔᔢൔڇֲભߪٝፖ֮֏ᓵ૪ऱխ֨Ζګࠐথᦓྥ षګధᡏԺൎՕऱ໌႞Δ᠏֏طᛜࠃٙኙֲભषᆢۖߢΔբᆖ ፖᕩषᆢऱψ৬ഏ໌႞ωمᒔۿऱᖵಖᖋΔԫጟᣊڶᆢ٥ ΰfounding trauma αΖࢮਹΰ Dominick LaCapra αᇞᤩψ৬ഏ໌ ࣹދଡԳࢨᆢ᧯ൎ௺ൣტګᏝଖΔڶ᧢چ႞ω߷ࠄψؿએ ഗΔۖլ٦ౡΕᔆጊߪٝऱ໌႞ωΰ 23 αΖψ৬ഏ໌ٵऱᎁ ৬ഏΕፖ٤ࡲඒاஇႨගᇔݼञΕรԿ৵ཷڇ႞ωऱࠏ ፖගᇔႜ॥ऱᖵխֺֺઃਢΖൕጰളවྫ֜Գᖿದऱྫ֜Գ ऱு֨Εࠩޣᗑ֭ृᖵ္ګ᧢ԲԲԶࠃ৬ഏრᢝΕ ᚰհ৵ይऱભഏഏ୮რᢝΔ໌႞ࣙဎݮዌސԫԫஎࢠ ऱഗ៕Ζم༟ൣഏග壀ᇩ৬֗אΔޗऱ່ࠋై᧯ٵუቝ٥ ᔢൔᛜᖵኙֲભගᆢრᆠऱ᠏᧢ΔࠀլਢנᅝྥΔृਐ ᔢൔقॺᄆޓᔢൔᛜࢬᔡ࠹ऱ໌႞բྥ᛭័Δڂ്ֲભषᆢ ംᠲΖઌ֘ऱΔຍᒧᓵ֮უಘᓵऱΔګᖵඖ૪Ղբᆖլڇᛜ ֲભψ৬ഏ໌႞ωຍଡᓵ૪ऱওૻࢤΔࠀᇢ܂ਢᔢൔᛜᖵإ ठऱᔢൔᛜנΖᇨྥΔඡ२սլឰڤᑓהඖ૪ᔢൔᛜऱࠡנ༼ထ མᎅآܡΚᔢൔᛜऱᖵਢەઌᣂ֮ΔᨃԳլլᎁట৸ ጐΛᔢൔᛜኙֲભषᆢΕભഏഏ୮֮֏Ε۟ሀ֜ؓࠅЁભ֮ սྥ塒ंᛯዢΛലᔢൔᛜඖ૪ওૻ࣍֟ᑇܡ֏ੌ೯ऱᓢᚰԺਢ ᇔભഏߪٝऱឰါፖૹ৬Δࢨֲڇലᓵ૪ு֨࣋ܛගᇔਙएΔٍ ֲભګऱ႞୭ΔࠌࠡګᎁवՂ᠏ฝᔢൔᛜኙֲભषᆢທڇਢ ᓵ૪ڇ౨ױޓψ৬ഏ໌႞ωΔլႛլᚨᇠਢᔢൔᛜඖ૪ऱึរΔ ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 13 ᒔࡳאױᢁ۞ᗻΔᔢൔᛜऱᐙԺቃගᇔਙएऱᢰΖ܂Ղ ΔഏᎾൣႨऱ᠏᧢ޏऱۯچભഏڇऱਢΔழၴऱੌ᧢Δֲભषᆢ լឰإࠅભषᆢ֗ᖂኙᔢൔᛜዬΕዬᐖऱԱᇞΔڶΔᝫ᧢ ฝ᠏ֲભᔢൔᛜඖ૪ऱૹរፖრᆠΖᔢൔᛜਢֲભषᆢऱ໌چ ႞Εભഏऱ໌႞Εᝫਢᖩ။֜ؓհࠅፖભਙᆖ֮֏ੌ೯ፖ ऱ໌႞ΛೈԱֲભषᆢΔᔢൔᛜࠃٙᝫ௫Աୌࠄګᖏञࢬᦷ ֲભषᆢګΛૉᎅᔢൔᛜࠃٙ٣ਢࣈᇞԱΕྥ৵ԾچԳΕढΕ ګԫଡषᆢႯΛֲભٵΔ߷Ꮦ،ࣈᇞࡉૹ৬ऱਢفૹ৬ऱᓵ૪ഗ չسଚऱषᆢขהᔢൔᛜհ৵ऱᠦཋࡎሎΔ֗אᆖᖵԱᔢൔᛜ ԫᆵΔભഏਙࢌኙֲભषᆢբᆖܫሎ೯֘ؓڇᏖᑌऱᔆ᧢Λۖ ԱࡳڶհࠃՈ༓سኙᔢൔᛜխࢬ࿇ڇղࡴֱሐዙፖᓽᚍΔ5 ۶ඖ૪ᔢൔᛜΔֱլ۟࣍ੌ࣍ኔऱૹΔࢨ۞ڕΔڇߠऱ ೯ຍԫᖵ໌႞ࠠޡݺૻֲ࣍ભගᇔਙएऱᒤᡱΔۖ౨ၞԫ ऱழ़؆ࢤΛڶ ભᔢൔᛜऱᖵᓢᚰԺΔ൶ᔢൔᛜֲە৸ڇڱຍԫᒧᓵ֮ ౨Ζृ്լലֲભᔢൔױ႞யᚨઠ။ழၴፖගᇔᢰऱ໌ ऱᖵࠃٙΔࠀലࠡီԫଡᖵ໌႞Κװመڇسᛜီԫᑏ࿇ ᖵ໌႞Δᔢ܂ऱࡳழ़Ιسࠡ࿇ڶᖵࠃٙΔᔢൔᛜ܂ ᨃᔢאൔᛜಖᖋऱψழၴ৵ࢤωΰ temporal belatedness αঞߩ Δנऱழၴፖ़ၴᇙ֘ٵլڇհ৵Δسࠃٙ࿇ڇൔᛜऱಖᖋ ᎅΔᅝᔢൔᛜچࣔᒔޓ ழ़ऱᆖ᧭ፖᎁवΖ6ٵᜤᢀದլڼڂՈ 5 1988 h:ˬˬ̃%P£`ˉƟV Civil Liberties Act W:Dž`Ĺ"IƢ VRonald Reagan W>̯̱āς'Lj ɧ æDžœɧ̊²< 1990 h;īĹ" VGeorge Bush W+ΰƼ̩Ňʙ:>#FΜŏɩ?˼Η̮Ǿ˶ ̉Ö̈́σ Vserious injustices W̩ æ˕<;īĹ"˶Ňʙƥ Inada 412 < 6 Ƒɩκɔɩ :ɭĭ Ƒɔ :ϧϕÁʓƌÍ κo ţ ɔm ˶Ƒɩ ǝÙ<Áʓaɱ]p>Áʓ:LʒǦ]&ϧ̢Ǖ× Ƒɩa˶*:Ɛ] ǕLɳΘ^Ö˱:»ŨÖ˺Ϣ͎:ǦƌÍ9G]ǕK@KǕ͟<1;¦ Áʓ Ƒɔ ˶̌ɟƐ̃+ Ȇͭ< ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 14 ࠩᖵመڃԺᄎਢܘԫᑏᖵࠃٙழΔඖ૪ᔢൔᛜऱ܂ႛႛᅝ ኙᖵאԱչᏖΔس࿇װࡳழ़ऱመڇᝫኔΔԱᇞאװ ᅝᔢൔᛜီᖵ໌႞Δঞඖ૪ᔢൔᛜऱૹ܀ऱေឰΖإֆנ រբլਢኔਉൺΔۖਢຘመլឰऱᖵඖ૪ፖႚ ࠃٙऱᓢᚰԺፖཱྀԺΔۼװ ΰtransference αऱመ࿓Δ7 ᡲऱૻڶࢴᓵ૪ፖᖵਝאش႞யᚨሀ။ழ़ऱ೯౨Δ໌ ԫଡֲભᔢൔᛜऱנ൷ՀࠐऱಘᓵᇙΔृല٣ቫᇢ֍೬ڇࠫΖ რᆠΔࠀٵᓵ૪ൣቼᓿղऱլٵլڇඖ૪ΔԱᇞᔢൔᛜᖵ ࠐऱᓵ૪რොፖওૻΖ൷ထΔᓵ֮ག֧ڤඖ૪ᑓٵಘᓵຍࠄլ אࢮਹΕ৸ΰCathy Caruth αΕ້ཏᥞΰE. Ann Kaplan αΕ ఄ௳ΰJill Bennett αᖂृኙ໌႞ዌፖᖵᐊऱߠᇞΔ֗ ۶ᨃಖᖋᙟழၴੌຓլឰ֘٦ऱ೯౨Δ৸໌ڕܑਢ໌႞ ԫנᖄ֧ڼ៶ழၴΔࠀܒޅრᆠऱ֮֏ڶ۶౨ப᠏ڕ႞ழၴ Ζᓵ֮ऱ່৵ԫຝٝൕ໌႞ሀፖழऱڤଡඖ૪ᔢൔᛜऱᄅᑓ ࿇۩ऱᏣൣׂπ႕ڣ ΰJohn Sturges αചᖄΕ1954ٳߡ৫ᔹᦰჃ ࡿໟۨಖρΰBad Day at Black Rock αΔᇢထֲભᔢൔᛜᖵԫ ऱᔹᦰΖڤጟ໌႞ ̲;ŇǮ<%ˌ ױڰಳᄩֲᇔભഏ֮֏࿇୶Δᔢൔᛜऱᖵಖᖋ່چ១ 7 “Transference” ϧĿȐʰ˶̌ɟ:L³&ς'˶ʏƭ]ϧ×ȧ˶ς'Lj ÖÇ:ϧ˯ÄĿȐʰ˸Ϟ˔Ē%Lj^˶ ʏ¹ <ς' ʏƭ Vtransmission W˶ƒˉ:LJ̓3] ¦ς'Ǽ¡ɩVauthenticity W˶ȮŨ: ʏ¹ ͣύLj"¦ϞǤ̈˶̀˗Ŷ:]$ς' κɔ+ͳ V belated recounting WEEàς'L]:˶Ƒɩ]dÖ˺Ϣ͎;ȸΕ˶ǚ̓<ɳ Ǝ>: ʏ¹ ̌ɟ{Üʒϓ͎ς'Áʓ˶ ʏɩ V contagiousness W: ]ƒʙÁʓZ»Ʌ]&ͫʒǾ˩̈:̰]ɔÁǦˌɅǮς'˶qƗ̈ţ ƙȗ̈V LaCapra 142 W ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 15 ፖಖᙕΔܫᎅਢԫଡψᎅωࢨψլᎅωऱംᠲΖೈԱࡴֱऱא Բᖏհ৵ឈڇ܂ΕՑ૪ᖵΕ᥊ᐙፖᐙቝಖᙕ܂ሿਣऱ֮ᖂ໌ Δࢨڤೡᐊऱֱشኙ໌႞ᆖ᧭ऱਐ௫ࢨृឆඤΔࢨृ܀Δڇژྥ նΕքϤڇΔ܂ፖഏගԫอऱᓵ૪ഗᓳհՀሎٽભഏගᆢᘜڇृ ᖏ৵ૹ१षڇ؆Δڼ ಱΖ 8ڍᖏࣷխࠀ౨֧ದ֜ܐऱזڣ ᑇऱᔢൔᛜ࠹୭ृլڍᄎΕૹᖞ୮ႼऱᆖᛎፖਙएᚘԺհՀΔՕ ᔡນ໌႞ڍࣔᒔԫរΔޓᖏழ໌႞ᖵΖᎅڃװᣋՈྤᄈ ᎅᇩृڂኙຍԫᖵψᕱᜢωΔլזऱֲᇔԳՓ֗ࠡ৵ ګڍޓܶץొΕԫ༖ൣᣋऱψլუᎅωࢨψլᣋᎅωΔۖਢ᧯ լवޓΕࢨᚨᇠᎅչᏖΔאױ։ऱψլवሐ৻Ꮦᎅωѧѧլवሐ չᏖᑌऱᓵ૪ਮዌΕչᏖᑌऱნፖ᧤ᙀࠐᎅΖ՛՟ΰJoyشሐ ஞՕֲᇔԲᖏழףאKogawa αऱπᑛ֣ௌρΰ Obasan ; 1981 α ભԲᖏ໌႞ऱᆖࠢ໌קբֆᎁ༴૪ֲᇔڰऱᆖ᧭હནΔ ѧѧψ՛հਚωΰ Kodomo noֲ֮ऱԫנΖ՛ᎅխ֘܂ ಱᝩګီᖏ৵ֲᇔױtame ; “For the sake of the children” αΔ ٦ࢤ່ࠠွᐛრ࠺ऱሜΖ՛ᎅխऱֲױ႞հྤऄᇞፖլ໌ ψ՛հਚωಜဲΔٞቹ໌אψᑛ֣ௌωαܛΰئ܄ᇔԫ Գऱ໌႞መګΔሶ᥆࣍ڇທԫଡట़ऱΕፖመಖᖋ֊໊ऱ ऱᖵႚڤհၴऱኙᇩፖٚ۶ݮזࠐΔࢴآࡉ᥆࣍՛ऱװ Ζ 8 ˬȹ БLFΜ>̗Ƒ¦?̯̱ā˶éð:ƥ Spicer, et al. <þƑŏÖ »˶̯̱āi˧;ΏÁÇϙF7͊ ȐMiné Okubo ȑǝB;\ţʩƲ˶ 13660 λȿPVCitizen 13660 ; 1946 W;OJV Hisaye Yamamoto W˶ǂʴ 䳬 PėLȫʏȠV“The Legend of Miss Sasagawara”; 1950 W;ōƢVMonica Sone W ˶#UGǢV Nisei Daughter ; 1953 W:]$ɂ_V John Okada W˶ͬˬ LHV No-No Boy ; 1957 W</:Ī_V Yoshiaki Fukuda W]?; ˥HΘ z:Ɛ{t$P͐ʱaΏ̈ʴV Allen H. Eaton W˶ȆÇ ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 16 ऱᒧτ二՟՛ءֲᇔԲᖏඖ૪ᆖࠢΔ՞ګᑌՈբᆖٵ ܧچΔᚭᏣ֏ڤࡦႚ࡛υຘመඖ૪ृဘΰKiku α߮ಱऱඖ૪ᑓ լຑऱܗԫऴଗא૿ኙᔢൔᆖ᧭ऱᑓᆆৎኪΖဘհࢬګભֲ Գऱუऄፖ۞աࢬᦫࢬߠऱׂᇷܑڇ৲Զ࠳ۘࠐᎅਚࠃΔൖ ࠡኔਢଡৰ।܀ΰঁֱۿຍଡڣګآᝫࡸڔڶಛհၴΔೈԱ ڔ֗אΰڔᚨᇠਢڂᐋऱޓΔطαऱمګွΕۖլጐྥ ေឰװαᝫྤऄ༳༽ᒔࡳऱᇩࡉ᧤ᙀګၜᔡՕຝٝऱֲᇔ ေឰᖞଡᔢൔᛜऱᆖᖵΚᔢൔװ۶ڕᎅشլޓߡ二՟՛ࡦΔ ऱહধΛਢګऱൻਜᝫਢኙֲᇔاᛜਢભഏਙࢌঅᥨֲᇔࡺ ᛜωΰ summer camp αᝫਢψႃխᛜωΰ concentrationחψ ױ֖ࣛფࠝΰElsie αړᆖٚ۶᠔ᖂಝᒭऱآဘڕcamp αΛ9 ωΰplunged gleefully intoچ௺ᔢൔᛜխᅝದᥨՓΔᝫψᘋ७ڇא Կڍሿՠהthe pleasure αᏆ࠷ִᜲԼભ८ऱპᜳᜲֽΰֺؚࠡ ᔢൔᛜᇙᩀᩀኒᦟΕլॾܑٚԳڇભ८αΰ 24 αΔ߷二՟՛ࡦ אޔൄωΛᖏञإਔ᠔ೃαऱ۩ਢψ֘ൄωᝫਢψ֘ۖץΰ ৵Δբᆖჺࠩ၄ৄୖଈᖂᄐऱဘೝྥ൷ᤛࠩ二՟՛ࡦऱᇣ ભഏ۫ࡾΔطտฯܑ༼ࠩ二՟՛ࡦृ܂ࢬॵऱ܂Ζឈྥᇣ܂ ਢဘᝫਢ౨ല二՟܀ᔢൔᛜऱહནΔڠᔡൎࠫᔢൔ۟ࠅᖵௌ ՛ࡦऱܺቼࡉᔢൔᛜऱጟጟຑ൷ದࠐΔ֘ۖቫᇢൕ؆ԫଡߡ ࠩԫଡଫࠠࡲބ二՟՛ࡦऱ۩ᑉழڔ৫ᇞ二՟՛ࡦΖ ࡲඒ၌ๅΕਡ࣍ঋൣޣऱᇞᤩΚਢ二՟՛ࡦಳڻඒፖࢤܑᐋ ࿇ግऱլਢ二՟՛ࡦΔۖਢຍଡ٤إᚘ૰Ιటڔᘣ׀ტऱ ءဘऱᎅऄΔ՞ط៶ຍᇙΔڇᘣΖ׀Ֆࠝาტ֨ᨋऱီྤྥ ᨃτ二՟՛ڔ壆Աભഏੌᦰृለ౨൷࠹ऱࢤܑᚘ૰ᤜᠲΖ္ ڇࢾଡᦛΔ៥መԱ௫چݎ؏ழথԾٵࡦႚ࡛υᤛ֗ԱᔢൔᛜΔ 9 ?̯̱āϧ Ķ¤ā ɭϧ ɸ^ā :þˣΔ]Lʒ æ]:˶ˬ Ϟ̂̈ţó,aɩ<ϖƥ Ito ˶éΑ:ɞɗà>ɸ^āɭĶ¤āA V“Concentration Camp or Summer Camp?” W< ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 17 ᦞለඕტऱᤜᠲΖاᔢൔᛜᖵհխጟගፖഏ୮ֆ ۵ڇΖڰਢ໌႞᜔ਢࠐ֜إᇨྥΔ໌႞ᓵऱԫଡૹរΔ ཚΕࢤڰڣؔڇسْᐚᓵխΔ່ࣔ᧩ऱࠏਢࢤ໌႞᜔ਢ࿇ ॹਞཚڇհؘႊᆖᖵԫᑨٗཚΔڂᑵऱழଢΖ໌႞ګآᕴࡴࡸ ऱܒޅᖵፖ֮֏ڇΖנ֘ڤᐛणऱݮא࠹ࠩࠨᖿհ৵թԾ Ε֜ડྥΕ֜ൎ௺Ε֜၌ڰᏆխΔ໌႞ঞᐖऑࡳᆠࠐ֜ ᅝՀრᢝྤൕ༳༽ΕᇞΔࠃسࠃٙ࿇ڇ࣍۟אቃཚऱࠃٙΔ ᒬທڼڂ٦ΕૹᄅᇭᤩΔ֘ڤݮהଙඖΕኄᨑΕࢨࠡא৵թ Ա໌႞யᚨፖழᎠऱࢤΖ 10 ଖࣹრऱਢΔᎅψ໌႞ࠐ֜ ᔆࢨփ୲ऱംᠲΔۖਢ໌႞ઌኙءωΔਐ௫ऱࠀլਢ໌႞ࠃٙڰ ԫଡຟᄎޢԫࠃٙऱԳΔլਢٵ࣍ᎁवऱԫጟழၴዌΖᆖᖵመ ࠃٙΕྤൕߢழΔࠃٙթڼᅝࠃԳྤऄᇞڇڶტࠩ࠹໌Δ ᇩᎅΔࠃٙ႞Ζང໌ګᐙᙟݮΔ֘௬ݮڕ৵ऱழֲڇᄎ ᇞᤩ໌႞ऱאհழΔᅝࠃԳߩسࠃٙ࿇ڂ໌႞Δਢګאհࢬ ႞ழၴݶመߢழၴऱዌΕ໌႞ႝ໌ګݮΔທګآᓵ૪᧤ᙀࡸ Δઌኙ࣍໌႞נਐڼআထߢ᧢֏ፖᎁव࿇୶ऱွΖ৸ᖕ ऱ壄壀։࣫ஃፖᖵ֮֏ေᓵृຟψߠ֜ඡωڶΔࢬڰࠐ֜ ΰseeing-too-late αΰ Unclaimed Experience 110 αΚᓵ૪ࡉߢ ᄅऱ৸ፂፖᓵ૪ΖسאٻႝআΔլլ᠏چ໌႞֘ڂਢ ऱנհ৵թᎅڣڍޔԲᖏڇऱਢڍᔢൔᛜඖ૪ऱூࠏᇙΔڇ π٦ᄎԱΔᖻρڇࡣΘٖཎ࿆ΰ Jeanne Houston αٳਚࠃΖ ᠦၲᔢൔڇա۞قΰFarewell to Manzanar ; 1973 αऱছߢᇙΔ। ᖻᔢൔᛜڇڔհ৵Δթᤚ۞աึ࣍౨༼ᐊՀڣᛜԲԼն ᑌऱΔᖵᖂृٵΰManzanar Relocation Center αऱࢬߠࢬፊΖ Ոਢࠩ܀ᄣழᘣߪᆖᖵᔢൔᛜΔڍԼڇᠿࣥΰ Michi Weglyn α ᑵፖ֚ګհ৵Δֱթ᧯ᎁ۞ահছऱψլڣԱԲԼնޔԱԲᖏ 10 ˓ƥ Caruth L Unclaimed Experience ƙ^¦Áʓ˶ȸΕV 91-92 W< ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 18 ൷࠹ࡴֱߢᓵΔچటωΰimmaturity and naïveté αΰ21 αΔຶྥިᚈ ૉᢞࣔኙભഏऱ࢘ᇨΔᔢൔਢഄԫሁஉΖᠿࣥګᎁֲભ Κ ભഏႃխᛜխזڣѧѧπಫ܂ᐙֲભؓ֘ሎ೯ऱထ ऱਚࠃρΰ Years of Infamy: The Untold Story ofנᎅآࡸ Δᣂ࣍נऴ൷រټAmerica’s Concentration Camps ; 1976 αΔ៶ ωऱኔΔࢨਢᔡᙊݱΕࢨਢ࢙ီΔנᎅآψࡸڍ֜ڶᔢൔᛜΔ झΕᝫΖچาגৱڶຟ ፖ೯౨ΖڤԱֲભᔢൔᛜඖ૪ᄅऱᑓقሎ೯ऱഹದΔ༿֘ؓ ભഏഏ୮ᚾூڇΔڣԳक़၄ᑇءρΔᠿࣥזڣπಫ܂Աᐊ ΰ US National Archives αፖᢅཎ壂᜔อધ࢚ቹ塢ΰ Franklin Delano Roosevelt Library αᖲዌᔹቺᚾூΔಳߒᖵటઌΔ ᑑԱֲભषᆢኙ࣍ᔢൔᛜऱᖵΔբᆖൕψᎅωچਢრွធ່ࣔ ᢞΕፖኙᖵەፖψլᎅωऱࢮᙏΔၞԵࠩኙᖵาᆏሰาᣇᙊऱ ՕՆঅΕ՞זڣठնΕքϤנటઌऱഒΰ Nash αΖೈԱૹᄅ ߱վΔፖأזڣΔ 11 ൕԮϤ܂հছᔡ࢙ฃऱضΕམΕࡽء ڇΔೈԱભഏਙࢌנፖᐙቝಖᙕՕၦ֮ྂ܂ᔢൔᛜઌᣂऱထ ψᖏழᔢൔፖᆃࡡᄎωΰ Commission on Wartimeمګڣ 1980 ᆠρإπଷኆԳߪܫઔߒנ༼Relocation and Internment αΔ ᖵᖂृୗཎڶΰPersonal Justice Denied ; 1982, 1983 αΔ 12 ᝫ ᆠΚֲભࣅఎூࠏऱਚࠃρΰ Justice atإΰPeter Irons αऱπᖏழ War: The Story of the Japanese American Internment Cases ; αΕؑࡽႂԲΰ Yuji Ichioka αᒳᙀऱπᛜփီߡΚֲભൎࠫ 1983 ቅऱઔߒρΰ Views from Within: The Japaneseڜᦀᠦፖૹᄅ ዿཎ؍American Evacuation and Resettlement Study ; 1989 αΕկ ભႃխᛜΚԲᖏཚၴભഏקठऱπנڣ 1981 ڇΰRoger Daniels α 11 ˓ƥJ;Ȥ͎ 8< 12 éðS` P£`*ͯƠ˴̳ V Civil Liberties Public Education Fund WţȃRFΏV University of Washington Wʒ 1997 hÖ˺ ˥< ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 19 :ρΰ Concentration Camps, North AmericaاஞՕऱֲᇔࡺףፖ Japanese in the United States and Canada during World War II αΕ ऱπભഏႃխᛜΚֲભםნႃΕᒳᤊऱԫຝڣ 1989 ڇ֗א ᔢ ൔፖࣅᆃધᙕρΰ American Concentration Camps: A Documentary History of the Relocation and Incarceration of ᖋᙕΕֲڃΕ܂Japanese Americans αΖࠠ۞ႚࢤᔆऱ֮ᖂ໌ ೈԱπ٦ᄎृټၸՈໂ࠹ૹီΖवڼڇಖΕՑ૪ᖵᇷற ዣΚԫޥΰ Yoshiko Uchida αऱπੌ࣋ضփڶԱΔᖻρΔᝫ ଡֲભ୮அऱ࣋ດρΰ Desert Exile: The Uprooting of a Japanese ؤΰ Mitsuye Yamada αऱπᛜխ֫ضAmerican Family ; 1982 αΙ՞ ΰJohnفمρΰ Camp Notes and Other Poems ; 1976 αΙ܂ᇣהፖࠡ ᆠΚֲભࣅఎᛜՑ૪ᖵρΰ And JusticeإTateishi αᒳᤊऱπ٤ᒌ for All: An Oral History of the Japanese American Detention ՂΰHatsuye Egami αऱπᛜխֲಖρΰ TheۂڶCamps ; 1984 αΙᝫ Աรԫ֫ᇷ᧩סEvacuation Diary of Hatsuye Egami ; 1995 αΙ݁ றߠᢞᖵऱᏝଖΖ13 ٞቹޓठΔנጟᐙቝٺ܂ठΔᅃׂΕנڗೈԱ֮ۖ ၢΰEstelle Ishigo αऱπഭነ֨فᨃᔹᦫृᘣณߠᔢൔᛜΖ հ ՞ρΰ Lone Heart Mountain ; 1972 αΙᆗཤ৸პΰDeborah ؆ΚભאڗGensensway αፖᢅཎΰ Mindy Roseman αऱπ֮ ഏ ႃ խ ᛜ ᐙ ቝ ρ ΰ Beyond Words: Images from America’s ऱػԳ᥊ټConcentration Camps ; 1987 α݁ਢૹऱࠏΖထ ᖏञڇΰDorothea Lange α៴֗אᐙஃࠅᅝཎΰ Ansel Adams α ठΕಘᓵΔࠀנՈૹᄅ܂ཚၴࣁ᥊ᖻᔢൔᛜऱ᥊ᐙ 13 Řϖĝ˶;̝˓͆ Inada ˀ̯a Only What We Could Carry ƙκɱ̺a͟ȟ ƙV 431-36 W?ȃRFΏƙ˧ʒ?̯̱āaȗqƗƙ:9ιů "ǥc̩ɩ˶;̝V ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 20 ፹ઌᖲ֫شᛜխڇஞࠐࡉֲભ᥊ᐙஃ୰ࣳࣟΰToyo Miyatake α խཚຬᥛംזڣֺለΖ14 ؆ΔՕၦऱધᙕׂൕԶɄ܂ࣁ᥊ऱ Δࣁ᥊ધ܂ၢऱႚಖፖفޗΖ15 ࡽസΰSteven Okazaki α࠷ ᙕׂπৱऱֲρΰ Days of Waiting ; 1988 αΔᛧཎ່ࠋ ऱᛜխైڔٽၢ۞૪ऱΔف୮شધᙕׂᑻΖᐙׂආ ऱψ֨հ՞ᔢൔᛜωΰHeartڠ࣍ᡖࣔۯڇڔΔࠥቤ܂༴Εֽ ൣݮΖᐙׂխ༟ൣऱࣷسMountain Relocation Center αᜱሰऱ Εᐬ⥤ऱඖ૪Δኦ᧩ԱֲᇔගᆢᔡભഏਙࢌહধऱᠲΖ ࠟଡૹរΔԫਢൎᓳ࠹ޣຍଡၸ္ڇ១ߢհΔᔢൔᛜඖ૪ ޣڴؘႊਢݼᤜऱᖵΔլࡡܛᣄृಖᖋፖࡴֱᖵऱฆΔٍ ᔢൔᛜᖵ״࣍ᝫΕڇ٤ࢨࡹრ࡚ࢭࡴֱᖵΖԫଡૹរঞ ᇖߩᖵ़ΖޣऱటኔࢤΔൎᓳԫ֫ᇷறፖᚾூઔߒΔ೭ ̯̱āɳΘ˶ÁʓǝÙ բլᇠ٦ီԫऱᖵڰழ۟վֲΔֲભᔢൔᛜ ڣऱழၴբᆖ၌መքԼس၏ᔢൔᛜ࿇ڇᔊऱംᠲਢΔڶΖԫଡ բᆖޗΔֲભᔢൔᛜऱᖵբᆖᎅݙԱႯΛᔢൔᛜऱᠲڇऱ མآठנࠐΔᣂ࣍ᔢൔᛜऱઔߒፖאጣԱႯΛၞԵԲԼԫધ ᙟထழၴੌຓΕࢨآᢞࣔԱᔢൔᛜඖ૪ऱ೯౨Δࠀۿ ࿑ᄢΔ16 אᙟထᔢൔᛜኔყݙᖞۖ྇ΖଖࣹრऱਢΔ۞ؓ֘ሎ೯ 14 ˓ƥ Adams ?Gordon and Okihiro ?Adams and Miyatake < 15 ǦazOϙ Okazaki, Unfinished Business ?Ding ?Yasui ?Tajiri ?Tanaka ǐ< 16 Lawson Fusao Inada ʛ¦?̯̱āƙȗɱˀ̯˶;ɸ&o8ı®Ś VOnly What We Could Carry WL@ġh ˥<ɔ<%ˌ]Ǖ¦ˬĬ YΕ˶Ŋ×:#Ř)ÜKƐė#Μŏɩ?̯̱ā'¡˶ȆÇƐ{ Kashima ?Hayashi ǐ<%/:BÇς';̯̱ā^˶ͯȦţ8QʱÁÇ˶ $ţɵ̂94ʃŘRʾ˕:c̩ȆÇZ Hirasuna, Hinrichs, and Heffernan ? Dusselier < ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 21 ு֨Ζຍᑌەԫऴਢᔢൔᛜඖ૪ऱ৸ٵࠐΔૹ৬ֲᇔભഏߪٝᎁ זڣΔᅝྥਢԮϤڂኙගᇔߪٝਙएऱૹီΔԫଡլ౨࢙ီऱ ભഏ֟ᑇගᇔזڣ࠹ࠩքϤܛཚഹದऱᔢൔᛜؓ֘ሎ೯Δأ ᇩࠅભ֮ᖂፖ֮֏ሎ೯ऱᐙΖངזڣԮϤ֗אᦞሎ೯Εا ભගᇔਙएհՂΔਢࡳᖵൣֲڇᎅΔലᔢൔᛜඖ૪ऱૹ֨࣋ षᄎሎ೯ا१Δፖ٤৵ཷڃቼՀऱขढѧѧਢᔢൔᛜ໌႞ಖᖋ Ζᥛլឰૹຍᑌڤऱᓵ૪ᑓګۖسભഏගᇔሎ೯ઌሖΔ֗ ૻࠫԱᔢൔᛜऱᖵᓢᚰԺΛչᏖᑌऱඖۖ֘ܡΔਢڤऱᓵ૪ᑓ ՕऱޓᑇගᇔਙएΔཱྀ۟֟طᨃᔢൔᛜऱᓵ૪೯౨אױ૪ီߡ ഏ୮Ε۟ሀഏᒤᡱΛ ژπஂऱ܂ऱထڣ ߬ཏཤΰ Caroline Chung Simpson α2001 Κᖏ৵ભഏ֮֏ᇙऱֲᇔભഏԳΔ 1945-1960 ρΰ An Absentڇ Presence: Japanese Americans in Postwar American Culture, ऱᔢൔᛜඖ૪Δၞ۩Աඕᔲऱ֘৸Ζ߬ཏژαΔಾኙ 1945-1960 ભᔢൔᛜඖ૪ऱؿએΚᔢൔᛜઔߒፖထֲנխၲࡲࣔᆠរڇཤ ࠅભᓵ૪ᇙ່ൄಘᓵऱԫଡګ૪ᇷறհ᠆༄Δࠌᔢൔᛜ༓ ભഏᖏ৵ऱੌਙएፖ֮֏ᓵ૪խΔᔢڇԫᖵࠃٙΙྥۖΔ ൔᛜᖵথᆖൄਢஂऱΖ߬ཏཤག֧ແਲΰ Michel Foucault α ρΰ The History of Sexuality, Volume 1 αऱᓵםπࢤรԫ ᇩᓵ૪ऱଃԺၦΔࠐ֭ᐶ۞աऱऄΚ।૿Ղ୲ၞܛរΔ ڶޓլᎅΔਢލࠡኔψᎅωΔઌለ࣍ൎࠫᒰᚈऱᚘ܀Եᓵ૪Δ ٻࣲࣲۿயऱಖᖋጪࠫ֫Ζ༉ֲભᔢൔᛜඖ૪ऱࠏۖߢΔ ભഏഏ୮ಖڇ౨֘ۖᔟൽԱᔢൔᛜࠃٙױठፖઔߒणउΔנዊऱ ܀ࠐԱΔנ堚ᄑऱᎅΔᔢൔᛜऱᖵਢᎅޓᖋխஂऱࠃኔΖ ભഏഏڇભΰࢨࠅભα֟ᑇගᇔषᆢਙएऱᒤᡱᇙΔֲڇႛַ࣍ ฃመΖᔢൔᛜኙֲچՂΔຍᖵথਢ᎘༴ᐊڻ୮ಖᖋऱᐋ ਢᔢൔᛜᖵኙ܀ऱᐙԺբᆖᐖऑಘᓵԱΔٵભषᆢߪٝᎁ ח߬ཏཤऱᇩࠐᎅΔথਢψشऱᓢᚰԺΔګભഏᖏ৵ਙएषᄎທ ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ2012 22 ژψۿԳം੍ωΰa surprising lack of discussion; 2 αΚچԳ᧫ ωΰ presence αΔࠡኔਢψஂωऱΰ absent αΖڇ τૹᢄڇᑌᣂᡖֲભᔢൔᛜ٦ऱംᠲΔຫ壂ոፖཾైੳٵ ભഏ۫তΚൕ़ၴᇣᖂ൶ಘֲᇔ֮ᖂऱႃխᛜᐊυΰ2006 αխ ୮ψૹᄅᐉီભഏ۫তωΔᝫ܂ၴਙएऱߡ৫Δࡅᩃֲᇔ़طঞ ބભഏᖏ৵֮֏ᇙڇΰ44 αΖ 17 ߬ཏཤچ᧯ᔢൔᛜඖ૪࣍ࠠ ༈ᔢൔᛜᖵᐙԺऱᢞᖕΔຫ壂ոፖཾైੳঞലࣹრԺ᠏ࠩᔢ ټΔထנፖዌΔ։࣫ࠡࠐऱૻࠫΖࠟԳਐڤൔᛜऱඖࠃᑓ ρΕاՕՆঅऱπร 13660 ᇆࡺڕΔ壆܂ऱֲભᔢൔᛜ֮ᖂ ࢆ౿հளρڮऱπضփڶཎ࿆֛ഡऱπ٦ᄎԱΔᖻρΕᝫٖ Δྤլຟ܂ᣂᔢൔᛜऱ໌ڶΰJourney to Topaz ; 1986 αԫߓ٨ ψόհছύΕόཚၴύΕسऴᒵழၴᔮຫၗΔಖ૪ᔢൔᛜ࿇אਢ ύ٣ڃፖόհ৵ύѧѧՈ༉ਢൎᓳό୮ႼύΕόႃխᛜύΕό१ ګݧऱழၴਮዌωΰ 47 αΖຍᑌψຘመߢലࣅఎᆖ᧭᠏ངڻ৵ Ⴤᇖ໌႞ΔᚦᇖᖵឰڶωΔࢨृڤႉݧΕრᆠऱඖࠃݮڶԫଡ ૿سᓤᠧऱچڇᔢൔᛜࢬڇথ࢙ฃԱֲભषᆢ܀Δشפါტऱ ֲભषᆢ࿇୶խψొጰऱڼڂऱભഏ۫তՈڇΔᔢൔᛜࢬٻ ωΔԫଡψਝόύԾόࢼွύऱ़ၴωΰ 48 αΖહནࢨፘ ຍᑌऱඖ૪ਮዌխΔᔢൔᛜᇞԫڇΔנຫࡉཾᝫਐ ऱᖵΔឈྥ႞࿀ΔឈྥኙભഏጟගᆠፖԲᖏཚװመګբᆖ រΔᖵՂאױਢࠃٙ܀ᐬ⥤Δقၴࢬ࠹ऱլؓৱሖ। ࡣΘٳԳუದΔחࠐΖຍآٻΔ०נຍᙑᎄऱອᦻխߨطאױ ᔢנπ٦ᄎԱΔᖻρऱছߢխ༼֗Δ૿ኙ֖ࣛਐڇཎ࿆མٖ ऱࠃٙωΰ a dead issue αழΔڽբ።ཛྷᓵࡳΔਢଡψڰൔᛜᖵ ߷უނڍऱणउΛԳଚືإԳᖠᔢൔᛜట֟ڍڶ֘ംΚψڔ ࠅႃխᛜऱᐙွωܓ܄ႃխᛜΔྥ৵ᆰᇙ௬ऱਢंᥞࢨ۫ګ 17 ˧ʒ ų˶̂ƿ:ƥʒǦ«;̂;:˓ƥ Chen and Yu < ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 23 ΰix αΖઌለ֖࣍ࠡࣛუቝᇙऱᔢൔᛜΔٖཎ࿆֛ഡՀऱᖻ ຫፖཾऱᨠរΔݺଚᄎᎅΔشਢΔૉଗ܀ᐊኔΖޓᔢൔᛜՈ ᨃᔢൔᛜऱᖵψωԱದچפګؘ༉բᆖآཎ࿆֛ഡࠡኔՈٖ ࣍ᖵऱޔگࠐΖπ٦ᄎԱΔᖻρऱऴᒵඖ૪ዌലᔢൔᛜ ፘچࠠ᧯ऱભഏ۫তഏ୮طΔࢼွ֏ऱ़ၴԾലᔢൔᛜװመ ࢼᠦΖ ࿇រፖᓵ૪נ߬ཏཤࡉຫ壂ոЯཾైੳᛀಘᔢൔᛜඖ૪ऱ ᔢൔᛜᓵ૪ऱওૻژࣹრࠩٵΔথլપۖٵؾऱࢨृլጐઌ ԱᔢൔᛜقᓵរऱංዝխΔຟᄆڇ܂ᨠኘΔࠟᒧထچาגޓࢤΖ ᖏழཚऱഏ୮ਙएፖܐભഏڇಖᖋሀऱૹࢤΚ߬ཏཤݦඨ౨ ڇᔢൔᛜᖵګუऱਢআڔࠩᔢൔᛜᖵऱฉᇾΙބਙᇙΔ ᔢൔᛜ࿇ڇழၴՂऱሀΖᓫᔢൔᛜᖵΔழၴࠀլԫࡳওૻ ܐዶຘࠩᖏ৵ΕࠩאױΔ 18 ᔢൔᛜऱᐙԺڣ ऱ 1942 ۟ 1946س Ε۟ࠩ٤זڣᦞሎ೯ழཚΕࠩࠅഹದऱԶϤاᖏழཚΕࠩ რऱΔঞਢᔢൔᛜڇႨԺૹᄅᒌᖞऱԲԼԫધΖຫЯཾऱᓵ֮ ၴՂऱሀ़ڇᔢൔᛜಖᖋܛዶԵભഏ۫তΔٍܡၴՂ౨़ڇಖᖋ ࣔᒔऱᎅΔᔢൔᛜլᚨᇠওૻਢֲᇔषᆢփຝऱಖޓΖ լᚨᇠီֲᇔषᆢΰऱޓᇔषᆢհխႚᎠΔֲڇᖋΔլᚨᇠ Լଡᔢൔᛜ։طഽᇞፖૹ৬αಖᖋഄԫᣂᡖऱ़ၴΖࠃኔՂΔ ፋࡺભഏ֜ؓ۫ࡾऱֲᇔءࠐΔᔢൔᛜլലچڇऱࢬ܉ ଚၞԵભഏ۫הքஆᔢൔᛜαΔᝫڶԵԱભഏऱ۫তΰاࡺ ࣍ભۯ֗אԫஆᔢൔᛜαΔٺΰڠᡖࣔ֗אڠփຬऱფሒ๛ק ءڂհ৵ΔޔࠟஆᔢൔᛜαΖ 19 Բᖏڶΰڠۥഏতֱॳ् 18 1946 h 3 A:½κ ţ̯̱ā Tule Lake Relocation Center ˧< 19 ţ̯̱ā͒^:´ȿˬ°ͩ˶ϧƠae Topaz ;NJςƩȬe Colorado River $ Gila River ;zʪɳRe Granada ; e Manzanar ]$ Tule Lake ?%/: ţΪʒ˙ Pe˶ϧ Minidoka :Lɻ͓ʙe{ Heart Mountain ?̸̒ªeǤţ ̯̱āͣÖϧ Rohwer ]$ Jerome < ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ2012 24 ࣍۫ࡾषᄎᥛᣵደထኙֲطޓΔڇژऱ୮Ⴜբᆖྲྀధ ࢨਢլ༚ ڶᙇᖗฝࡺભഏխ۫ຝࢨࣟຝΙᝫګભֲڍᇔԳՓऱᑅრΔ ٺᇾ࣍ભഏփຬګΔޣᣄ܂૰࣍ᆖᛎᚘԺፖՠګԫࠄֲભ ለอԫڤֱسΕۥᒴچԫڶऱᔢൔ໎ՠΖԫֱ૿Δࠠڠ ਢൕԫଡߡ৫ࠐΔֲભ܀ഽᇞԱΔسऱֲભषᆢᙟထԲᖏ࿇ ߡᆵΕٵભഏլڇسցऱΕ࿇ڍ؈Δۖਢᠦཋإటآषᆢࠀ ڕΖ՛ມΰ Kent A. Ono αല壆اࡺֱچගᇔፖᆢ᧯յ೯ऱٵፖլ ऱᄅषᆢፖषᄎᣂএ༴૪נسਙएፖ֮֏૰୭Δ֘ۖڂᣊڼ ۖߢΔႃګԫጟψ༟Ꮳࢤऱ֘ᘰωΰ tragic irony αΚψኙֲભ ګ࿇୶ѧѧאխᛜऱᆖ᧭༼ࠎԱൣቼΔᨃհছუቝլࠩऱषᆢ षᄎ़ၴᇙૹᄅิ៣ѧѧൕٵભഏਙࢌ൳ጥऱլڇᠦཋΔྥ৵ षᄎࡉਙए౧ωΰ 133 αΖངߢհΔᔢൔᛜऱ༟Ꮳࢤፖسۖ ࠐऱᓢᚰנۼຍᑏ༟Ꮳࢤऱᖵطਢ܀ధᡏԺឈྤᆜጊΔ ທᄅऱषᄎፖਙए౧໌אऱ़ၴማ။ΔߩګԱֲᇔګԺΔথআ ၞאױࠩຫЯཾኙࠠ᧯֏ᔢൔᛜ़ၴऱࡅᩃΔݺଚᚨᇠڃΖ٦ ਢధೈᔢൔᛜإ്Δᔢൔᛜऱ़ၴࠠ᧯֏Δଈհ೭ޡԫ ᖵ᥆࣍ԫගᇔΔࠀওૻ࣍ԫषᆢუቝऱಮ৸Ζ ᖏ৵ભഏऱਙएࡉڇܛ១ߢհΔլጥਢ߬ཏཤࢬݦඨऱΔٍ ຫ壂ոЯཾైੳڕωऱฉᇾΔࢨਢڇژࠩᔢൔᛜᖵψބਙխ Δٻ૿ٵլطࢬࡅᩃऱΔݦඨലᔢൔᛜᖵᐊԵભഏ۫তΔࠟृ ຟݦඨ୶ᔢൔᛜಖᖋऱழ़؆ࢤΔሀ။ගᇔਙएᒵΔᨃ९ Ζृףޓࠐওૻ࣍֟ᑇගᇔਙएऱᔢൔᛜඖ૪Δ᧢אՆ ᔢ᧢ޏດዬإΔࠡኔڤᝫᎁΔቝ߬ཏཤࢨຫЯཾຍᑌऱᓵ૪ֱ ࡐࡳழ़ऱᖵڶԫᑏ܂ᔢൔᛜᅝނΔൕڤൔᛜඖ૪ऱૹ֨ࡉᑓ าංΔီᔢൔᛜגࠃٙΔ᠏ۖૹီᔢൔᛜᖵऱ໌႞ዌΖ ԫᑏழ़ፖኔᒔᨼऱᖵࠃٙΔፖထณ࣍ᔢൔᛜᖵऱ໌႞ ழၴᨠڇፖΖছृڤࠟጟլԫᑌऱᖵඖ૪ᑓנዌΔᄎ֧Ꮖ ࠐΙඖ૪ᖵਢآΕࡉڇΕװՂঅఎԱऴᒵழၴᄗ࢚Δሶመ ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 25 ᐊኔޣਉൺኔऱመ࿓Δԫଡ္װࠩመڃڇᖵऱطԫଡլឰ ޓ٦ਙएऱওૻΔലנሂڇऱ٦ਙएΖ৵ृऱ໌႞ඖࠃঞრ հ؆Δ໌႞ಖᖋ֘ڼࣹრԺ᠏ฝ۟ᖵ໌႞ࠐऱᓢᚰԺΖೈڍ ցழၴរऱዌΔՈ༼ࠎԱᖵઔߒԫጟᄅऱழڍٻΔਐנ ၴᨠΖ ؎ࠃٙڇ࣍ᖵ؆ڂូױࢨګ႞ᓵΔ໌႞ऱݮ໌זᖕᅝ Δ༉լ౨࢙ီ໌႞ऱڤऱֱ܂ਢԱᇞ໌႞ሎ܀ՕऱᓢᚰԺΔ ૹऱਢΔ໌႞ऱ壄壀ዌޓࠃٙΔڇዌΖ໌႞լਐ௫؆ ᔡນ໌႞հᆢ᧯ࢨଡԳፖኔऱᣂ᧢ޏ۶ڕΰpsychic structure α ጉΰ Pierre Janet α֗۵ْᐚऱ໌ڰএΖ৸ᎁΔൕ່ ႞ઔߒၲࡨΔ໌႞༉լਢԫጟఐणΰpathology αΔۖਢԫሐψ壄 壀ፖኔᣂএऱᝎᠲωΰ Unclaimed Experience 91 αΖ໌႞ೈԱທ ࠃٙ࿇ڇଡԳࢨᆢ᧯ऱ᧫ᚕΕլवࢬൻࡉլ౨ߢऱ֘ᚨΔᝫګ ԫጟઠ။ழ़ऱᖵྲྀఎΔլឰᤵឫኔګΔנհ৵֘س ࢮਹऱᇩࠐᎅΔ໌႞ψឈྥࡉࡳࠃٙઌᣂΔشፖᎁवऱᒵΖ ࣍ࡳழၴऱԫࠃٙΖ໌႞ਐ௫ᆖ᧭խృس࿇ޔگথྤऄ ωΰ 186 αΖ৸ՈൎᓳנᅷࢤऱխឰࢨַٖΔࠡயᚨ৵ ऱᖵࠃٙΚψ໌႞ऱچԫழԫװመڇس႞լᚨႛᇞ࿇໌ ࠡ֗אΔچࠐ۞࣍ࠡፖழᎠऱࢤΔࠡࢴওૻ࣍ԫإயᚨ Δנᝫਐڔഒሀ။ԫழ़ᡲΔ֘ߪωΰ Trauma 9 αΖ ၌။ࠃٙ࿇ڻԾԫڻԫᑏࠃٙ֘ऱ႞୭ԺΔՈԫق᧩ψ໌႞ਝ ਝਢኙڼڂऱழ़ωΰ Trauma 10 αΖᇞᦰ໌႞Εᐊ໌႞Δس ٵᜤᢀದլچࡳᖵࠃٙऱᣂࣹΔՈ༼ࠎԱԫଡመ࿓ΔᚭᏣ֏ ᝫ໌႞ࠃٙאװࠩመڃ࣍ڇழ़Ζ໌႞ዀඝृऱຂࠀլႛ ऱழፖᇭسࡡΔۖਢ୶໌႞ઠ။ழ़ऱயᚨΔຑ൷ࠃٙ࿇ Ζ৸്Κψႜᦫ໌مᖵᆖ᧭ऱࡰ܍ழΔᝩڼࠃٙऱᤩ ژᖲΔ༉լਢᦫߠࠃٙΔۖਢᦫߠ໌႞ଔٲ႞ࠐऱ ᇩᎅΔ໌႞ए᛭ृΰ analyst α࿇Ζངנ۶ຘመߢߠᢞ٦ڕृ ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 26 ࿇ωΰ 10 αΖנᦫߠհ৵٦ڇ۶ڕਗᖏΔਢإ૿ᜯऱట ࠐऱᣄᠲΔਢψ٦໌႞ωנಘᓵ໌႞ඖࠃΔԫ່ൄਐ ౨Ζױऱؿએፖլ܍ᝩױߪྤءΰrepresenting trauma αຍଡᜰ೯ ωΔۖᖵᖂृڰছԫଡຝ։բᆖ༼መΔ໌႞᜔ਢψࠐ֮֜ء ᎅΔ։࣫ך٦ᇖאױፖ֮֏ေᓵृ᜔ਢψߠ֜ඡωΖݺଚᝫ ᙄऄߠΕࢨᎅڶፖေᓵृࠡኔլਢߠ֜ඡΔۖຟ ڂإωΔړᙄऄߠΕࢨᎅ৾ࠩڶψאΖۖհࢬړ৾ࠩ ໌႞᜔ਢݶመߢΚਢ໌႞ං೯ߢΔۖߢথྤऄݙ٤ ᘣߪߨመԫԫࠃٙհ৵ోપဩᙰऱᆖאᒳ໌႞Ζ້ཏᥞམگ ڇհᠧऱΕሿཋऱΕլឰاሁՂΔ᥆࣍ൊ್ڇ༴૪چ೯سΔ᧭ ೯ऱ໌႞֘ᚨΔ߷ࡉᄅፊ᧯ᄕԺუᔮຫऱݛᨠऱΕอԫऱᓵੌ شٚ۶ᓵ૪ᄗਔΔۖ৵ृথᄕԺუشאൎ௺ኙֺΚছृᣄګ૪ݮ ᆠፖ০ഏᦞհ֘ᐴࠐᇞᤩԫԫஎءᗪཎࣥኙભഏᇷ ࢠސᚰΰᇡߠ Kaplan 15-17 αΖဎ೬ΰIsabelle Wallace αՈᣂࣹ τ໌႞٦υΰ“Trauma asڇ႞ፖ٦հၴյؿએऱᣂএΖ໌ ԫԳಘᓵ໌႞٦נਐڔRepresentation”; 2006 αԫ֮ऱፃᓵᇙΔ شऱᓵञխΔլਢᎁᚨᇠمΔ᜔୲࣐ᆵԵࠟଡյઌኙ ऄ٦Ζլྤءᒳ໌႞யᚨΔլ༉ਢ്໌႞گװᓵ૪ਮ ਢࢬᘯ٦໌႞టऱ༉ਢ٦ױመΔဎ೬ጹ൷ထംΔψ ߪՈءณছऱࠃኔᣄሐᝫլജ堚ᄑΔࠡኔਬࠄ٦ڇႯΛ …… ឭ ࣔػԫរΔᅝψ٦ωլ٦ਢޓਢ໌႞ࠃٙΛωΰ 4αΖᎅ ψ٦ωΔۖਢࠠໂ໌႞ዌፖტԺऱԫଡ໌႞ࠃٙΔᖵ ംᠲΖࠡ۔ऱܡԱᐊኔፖנᐊЯ֮֏ေᓵࡉ໌႞ऱᣂএ༉ሂ ᎁवՂឭๅԱᐊኔᆠऱᾲ⇾Δ໌႞ݶመߢΕࢴڇ؟ኔΔԫ ಲๅߢࡉᓵ૪ऱᦞΖᜰאᨃԳړإࣚᜨ٦᧤ᙀऱᔆΔ ࡚ᐊኔנऱߡ৫Δ༉Ժ໌႞ᢌሂ܂ࠏۖߢΔఄ௳ൕᢌ໌ ႞೯౨ΰaffective໌ڇ౭ऱ٦ਙएΔ᠏ۖലࣹრԺ࣋ڈᆠ dynamic αऱ୶ΚݺଚᏁԫጟᢌΔψ֘ᚨመ࿓ѧѧ ԫጟၞ ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 27 ΔψݺଚڼڕԵߢऱመ࿓ѧѧۖլਢ֘ᚨ໌႞ඖࠃऱփ୲ωΙ ൣቼፖᐛणऱ౨ԺࠐေᏝᢌΔۖਢᨃژലլ٦ࠉᖕᢌ٦ਝ ऱᆖ᧭ፖಖᖋωΰ 2αΖسس᧯Δ္ᎅ໌႞֧ᡨऱΕګᢌ ౨Δࢨཚৱ౨ಖפ႞ฉए័ڶࠠޣႚอऱ໌႞ᢌΔࢨ ڇԫጟᢌΔᨃ໌႞౨م۶৬ڕᙕΕᝫኔΖఄ௳ঞ৸ထ ౨ࢤΖছृᣂױ༄ߢ।რऱ᠆ڼڂழ़խ୶ΔጐൣᎅᇩΔՈ ીޓᣂࣹ࠹୭ृհ塒Δڇࣹऱૹរਢ໌႞࠹୭ृऱ᛭័Δ৵ृঞ რᆠΔۖਢሀڶԺ࣍໌႞ᆖ᧭ऱႚΔᨃ໌႞լኙࠃٙᅝࠃԳ ፖගᆢऱൣტፖᎁवᙊขΖז ʊɄÔɳ ױᥛఄ௳ऱ৸ሁΔݺଚംΔչᏖᑌऱᔢൔᛜඖ૪ฃ ေ໌႞ᆖޅᓵ૪ፖڇ۶ڕᨃᔢൔᛜᖵऱᓢᚰԺլឰ؆Λא ڕᖵழ़ऱઌሖΛᖵ໌႞ऱ৵ழၴٵऱመ࿓խΔ໌ທլ᧭ ေᑓޅऱழၴΛۖ৻ᑌऱܒޅᖵඖ૪ፖ֮֏شபאױ۶ ຍԫଡຝڇΛڻ౨ᖵ໌ທऴᒵழၴհ؆ऱழၴᐋױԾڤ چ᧯ࠠޓဒᐙׂπ႕ࡿໟۨಖρΔړזڣ։Δृუ։࣫նϤ ໌႞ு֨ΔࠡሀፖழऱԺၦΖᙇᖗπ႕ࡿໟ܂ᎅࣔᔢൔᛜ ᔢൔᛜאᑇڍ࣍ՕٵԲΖรԫΔլڶطऱءಘᓵ֮܂ಖρۨ ԱչᏖඖسᔢൔᛜխ࿇אऱሽᐙΔπ႕ࡿໟۨಖρࠀլޗᠲ ભഏאΖຍຝሽᐙۥᐙׂխऱߡګભֲאࠃૹរΔՈլ ᤛ֗ᔢൔڇऱ႕ࡿΰBlack Rock α՛હནΔڠতࠅᖵௌ۫ հছΕհ৵Εፖسழ೧ԱଡഎΔჺዝᔢൔᛜࠃٙ࿇ٵᛜᖵऱ ػڇ᧭୶ԱֲભԲᖏ໌႞ᆖڼڂೡᢰ՛ՂػԳऱਚࠃΔথՈ Δᐙׂխ᠆༄ऱழၴრွΔ႕ڻऱயᚨ֗რᆠΖࠡسԳषᆢխข סዀඝԲᖏ໌႞ऱൣᆏΔڤኙᇩֱאᖋᖵΔڃ᧯ႃاࡿ՛ࡺ Εࠥ৫֏ऱழၴᨠፖ໌႞֘ฆհழၴᨠऱฆΔڤԱऴᒵ᧩ ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 28 ۶տԵᖵ৸ፂΔၞۖ᠏֏ૹᢄᖵڕ࣍ݺଚᇞ໌႞ழၴܗڶ ழၴΖܒޅհ֮֏ ڇسՂਢԫຝ۫ຝᣬጊׂΖਚࠃ࿇ڤݮڇπ႕ࡿໟۨಖρ ૭ەᖏಯݰऱػԳ૨Գຽط߉ۯழΔԫޔԲᖏଶڣ 1945 ऱᕬີΔࠐࠩԱైਡٵΰJohn Macreedy αΔထ૨խֲᇔભᤄ ՛ΔუגΕԳᄿ࿕֟ऱ႕ࡿׄچዣޥࡺભഏ۫তۯΕسؓ ᔡײΰKomako αΔ 20 ൕۖ༿Աᕐײᘣᕐ׀ऱٵലᕬີٌ ᇞᦰԫຝ༿࿇ભאױᘩ୭ऱᖵΖπ႕ࡿໟۨಖρا႕ࡿ ەػԳႂຽۯഏ۫ຝ՛ጟගᆠᖵऱሽᐙΖሽᐙႿທԱԫ ૭ऱԲᖏಯݰ૨Գߪەᆠऱެ֨Ζຽإભഏፂᥨጟගع૭Δૹ ऱழ़હནխᔡ࠹ጟගᆠߏ٩ऱֲભගᆢޔԲᖏ߉ڇٝΔ Ո౨ࡅᚨભഏൕፖԲᖏԫऴࠩᐙׂ࿇۩ऱ 1954ړᆠΔଶإ്ۼ Ε֘٥ഏᎾݮွΖඔԳጊᤀऱਢΔاऱمᖏழཚΔॻ৬ܐڣ ༿࿇ԫ௫ֲભԲᖏᆖ᧭ऱጟගࠃٙխאπ႕ࡿໟۨಖρឈ ᆠՕڇऱᐙቝΚۥભߡֲۯٚ۶ԫנڶΔሽᐙൕᙰࠩݠথ֨ ሽᐙၲࡨհছբᆖೄڇհײࡎऱᕐس૭ەᖏਓඑመຽܓ ᔡՂऱػԳܛሶֲΔسੴఇཽࠃ᧢࿇ڣ 1941 ڇԳءײՋΔᕐ མࡺ۰ऱψࣽᗤࡺωΰAdobeהയཎΰReno Smith α୴වΔۖاࡺ ԫՑմژऱਢԫׂᐒᏹΔႛܧᐙׂխڇհ৵Δ־Flat αᔡ᜕ ᐙׂխ٤૿ஂΔᨃԳᡖጊڇࠄມक़ΖֲᇔભഏԳऱᐙቝ֗א ԱֲભषᆢԲᖏشπ႕ࡿໟۨಖρਢլਢਢቹଡֱঁΔଗሐ࠷ 20 ϙ]«;;̝ȐAɳ> !“Komoko” V嗔嘃嗔 W:O^êĦ˶Ƽà9˶ʡ ϧ “Komoko” ?]%:ȦO\¬ ϙ˶ͪϧ !“Komako” V嗔嗿嗔 W ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 29 ᡕቝയཎຍᑌऱψ֟ᑇωጟගᆠृΔא៶ᔡ࠹૰୭ऱᆖ᧭Δ ᐙڇ૿֞ۥᆠऱഏ୮Ζ 21 ႓إભഏഒጟගؓᦞمᒔچࢤڤᏚ إᖏᚧີΔ܂Εࢳೈ֮֏ฆऱۥᓅڶխஂΔఎՀԫׂ࣭ ભഏഏ୮ᖵխ؈ΖຍᑌऱᦰऄΔᑊԱπ႕طಖٱጟගقᘱړ ጟගᤜᠲՂऱؿએΚሽᐙ।૿ᛀಘጟගᆠΔڇࡿໟۨಖρ ޓലֲભषᆢፖᖵᐙቝڻဒտΔ٦ԫړشܓᇙথਢ ංᚲࠩᎬኟհ؆Ζچኧࢍ ऱߡ৫ٵऱᒔΔൕᝫᔢൔᛜኔΕࢨൎ֏ֲભගᇔߪٝᎁ ࠐΔπ႕ࡿໟۨಖρ्ࡳլജጠΖྥۖΔൕඔ೯ᔢൔᛜ໌႞ ዌऱߡ৫ࠐΔृᎁπ႕ࡿໟۨಖρլൕֲભଡԳऱᨠរ ࠥቤψᦀດֲભԳωຍٙࠃኙԫଡભഏ۫তׄװ࿇Δۖנࢨᐙቝ ՛ࢬ֧࿇ऱ໌႞யᚨΔࢨ֘ۖၲԱᔢൔᛜඖ૪ԫය৸ג ՕᖏڻছऱࠃΔԲڣբᆖਢײऱ౧ΖሽᐙԫၲࡨΔᘩ୭ᕐە ࢮਹشጟගႜ॥ऱອᦻΖଗנߨڶԱΔ႕ࡿথᝫޔՈբᆖ ᎅԫऴ࣍ԫጟψᆖ᧭ృאױࠐڣኙ໌႞ൣቼऱ༴૪Δ႕ࡿຍ Εࢴװᅷࢤխឰፖַٖωऱ໌႞णኪհխΰ 186 αΚࢴ༼ದመ آऄၞԵඖ૪հੌፖྤڼڂᖋΔՈڃ૿ኙጟගᆠᆞ۩Δࢴ ᧫լྤا႕ࡿೖՀࠐழΔ႕ࡿࡺڇ߫־૭ჸଊऱەࠐழၴΖᅝຽ ႕ࡿೖՀࠐΔՈ༉ڇ߫־ڶڻࠐรԫڣຍਢڂΔא༬լवࢬ ़ၴፖچ؆ࠐृၞԵ႕ࡿΖ႕ࡿ۞࣍ભഏڶڻࠐรԫڣਢ ؆ٻᖲᄎڶاრॺൄࣔ᧩ΚԱլᨃՂࡺشᖵழၴհ؆ऱ ऱᆞ۩Δຑ൷؆ຝऱሽᇩᒵ֊ឰԱΔሽؘײߨዥව୭ᕐ ऱॾࠤᅝྥײᘣߪທ႕ࡿհছΔബࠐᇬംᕐڇ૭ەႊመៀΔຽ 21 ȦO^:²Êō$ýǿ˶ƒ% *Ϟ@ jʊɄə˶ΉɁLˬDž] R:Åϧ{ þS˹"< *Ϟ{ƌK̫ ²Ê˂ēZ ˶NΕijȲ@ àǑʊɄ˶ϟLjLˬς'^&ϧǚǔ:ˬ$ AɿEEWZ²Ê ɐΕƙ%KEENȣĬ́ɗ<˟ɗϧ:jʊɄə˶ΉɁLˬǼ˶] RʤA²Ê*Ϟ%ϥ˶:]NϧˬY)˼̃̀Μ̏ĬYΕȣ>; ǚǔ:] ϓ ɐF?̡\/^ĬƗȫ˶£Ŀū˕a˔A ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 30 ԫڇࠐ႕ࡿԫऴאڣՈ٤ಯᝫΖൕ壄壀։࣫ऱᨠរࠐΔ ᦞߓอΔګ壄壀ఐΰpsychosis αऱणኪΔ۞ݺຨΔ۞ۿጟᣊ ΕፖழᎠऱװਢݼࢴ໌႞ཀհլإኔኙᇩΔऱڇࢴፖ؆ Օ୮ᕱᜢऱയཎ༳༽Ղኙऱᓵ૪ޣΕࠀײᐞΖ୴වᕐྡྷ ΖהᦞΔຑՂᅝຂചऄऱᤞࡴ༼ࡥΰTim Horn αՈᦫࡎ࣍ حࣅఎڇߨၞ༼ࡥ༳ጥऱᤞݝΔ࿇༼ࡥຶጕॎڻ૭รԫەຽ ᆜΔᎅࣔԱ႕ࡿਢԫଡ۞ۯऱحࠩ܅ऱᥳਰհ৵Ζᤞࡴ۞ݺ၈ ݺຨࠩຑ৳ऄຟၞլࠐऱΖ ૭ऱࠩࠐΔૹඔԱ႕ࡿऱழ़ੌ೯ࢤΖπ႕ࡿໟۨಖρەຽ ߫ఏ۩ᢴᙰΔᄕࠠွᐛრ࠺־ऱᤪתԫߓ٨९ሒԫ։אԫၲࡨ༉ ֱܧᐙ़ׂၴፖழၴઠ။ऱᠲΖሽᐙԫၲࡨΔ૿ܧچ ௯ᡤྤুΕ၌။ழၴፖᖵऱۿԫ٨ఏᕍऱ٨߫Δઠ။ԫՕׂ ጹ൷ထ܀Օ़ၴխ٨߫ԫၲࡨ՛პլߩሐΔڇભഏ۫তዣΖ ૿ֱཛထছֱఏᕍۖࠐΔط༓ଡ᥊ᐙᖲߡ৫֊ངΔ٨߫ࢨਢ Δ᥊ᐙᢴᙰࢨਢ຺ᛲΕࢨװՂֱቍۖ׳ٻ૿ؐՀߡཛطࢨਢ ༓ઞᤪᢴᙰᇿထ٨߫ᙰֽؓ৵ᄀΔ໌ړڶਢֽؓΕࢨਢٛࣁΔᝫ ߫ᢴᙰ໌־ທ٨߫०૿ۖࠐऱᚘ૰ტΖπ႕ࡿໟۨಖρຍԫߓ٨ ݬכୗۏཚᗝॣسࠐऱழၴய࣠Δᅝྥբᆖլਢሽᐙᓭנທ ߫ၞీρΰL’Arrivée־πشΰAuguste Lumière and Louis Lumière α ۰ऱழၴຑᥛࢤΖތd’un Train en Gare de la Ciotat αׂݦඨ ૹऱਢޓழၴੌ೯Δܧ߫ᢴᙰլ־π႕ࡿໟۨಖρၲऱ ־٨߫ፖ૿હནऱઌኙຒ৫Ζ᧢ޏຘመᢴᙰߡ৫լឰऱ֊ངΔ ऱࡳழၴΔۖਢԫٻຍᇙ໌ທऱլਢࠥ৫֏Εԫֱڇ۩߫ఏ ឫ႖ᨠᐙृኙழၴፖ़ၴऱאΔٻଡլࡳऱᆏΕլᒔࡳऱֱ ॿԵګ᧢ભഏ۫তዣནᨠऱԫຝٝΔ܂ტᤚΖ٨߫ൕԫၲࡨ ՂΕ׳ՀཛؐطছΕٻ৵طΕ׳۟ؐط࣍ནᨠΔޔگནᨠΔྤൕ Հ៚झΔլឰಲᠦᎬኟऱԫैԺၦΖຍ׳Ղཛؐطࢨ Գრנ߫־߫ยದΔ߫ຒ྇ᒷΔ־࣍ޔ߫૿־ԫߓ٨ऱ ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 31 ߫ᖩቍመ۫ত־۩႕ࡿ߫ీೖՀࠐऱ૿Ζ।૿Ղఏڇچற ऱڜᤵ೯ፖլނዣΔඊದऱழၴᤥ೯ਢᑉೖՀࠐԱΔࠡኔᐙׂਢ ࢨءழΔٵ߫ೖՀࠐऱ־Ζ֨اฝ᠏ࠩԱ႕ࡿࡺچݎ؏ൣፃ ଚ٤ᤵ೯ದࠐԱΖا႕ࡿဩߡΔྤࢬࠃࠃऱࡺمΕࢨ݄࣬ڜ ႕ࡿೖڇૠהق٨߫ࣚ೭Գ।ٻ߫ழΔ־Հޡ૭ەຽ ৱԲԼֱچຍጟڇሐΔψڃఎԲԼ՛ழΖ٨߫ࣚ೭Գؚᔊ ڇΖω٨߫ࣚ೭Գऱრ৸ਢΔܣ՛ழΔᇿመԫᔘՕᄗࠟᑌ ᄎਢቝױΔৱԲԼ՛ழֱچเᘸऱྤۍຍᑌԫଡೣළΔ ەᑶመԫᔘԫᑌደ९ΖუࠩΔᙟထᏣൣऱ࿇୶ዬ ጹ്Δຽ ႕ࡿऱԲԼ՛ழڇՔΔუ༼ছᠦၲԾેྤٌຏՠࠠΔ؟ڇ૭ࡎ ڕᙠΔደ९ᣄᑶΖଖࣹრऱਢΔψԲԼ՛ழࡷ᧫ޡޡଙటਢ נᎅچ֊၀ޓ૭ऱ႕ࡿᆖ᧭Δەࠐݮ୲ຽشאױԫᔘωΔլ ૭ࠩࠐऱԲԼ՛ەᐙׂխᆖᖵऱழၴᆖ᧭ΖຽڇاԱ႕ࡿࡺ Հײಳംᕐچۖլඍהऱ़ၴຑᢀΔڇழΔլૹඔ႕ࡿፖ؆ ૿ڻլլ٦ԫاᆵΔᨃٞቹݱথழၴΕឭๅಖᖋॿឫऱ႕ࡿ ߢΔۖاࠐऱ໌႞ழၴΖኙ႕ࡿࡺآΕፖڇΕװኙ߷ٌᙑထመ ࠥ৫ૠၦऱԫ֚ԲԼ՛ழૠش૭ၞࠐऱழၴΔլᚨႛႛەຽ ૭ઠ။़ەցፖᏍᠧٌᙑऱࢤΔᙟထຽڍრᢝੌڕጩΖழၴ հၴᓍا႕ࡿࡺڇၴፖૹඔᖵಖᖋऱψ౨೯ࢤωΰ mobility αΔ ၲࠐΖ Գݺषᄎጻխࡳլ೯ΖڇழၴխೖዩΔڇ࣍ا႕ࡿࡺ ޡ૭ەΰ Hastings αߠຽثऱ႕ཎ܂࿇ՠگ߫ీ९ፖሽ־ଫٚ ԫࡳਢ܃߫Δรԫଡ֘ᚨਢΚψݺ൷ࠩ٨߫ೖీऱሽΔ־Հ 壀ൣጹ്Δثݫᙑ߫ీழΔ႕ཎהق૭।ەຽڇՀᙑీԱωΖۖ ܃չᏖԳႯΛݺਢᎅΔބᎁᢝ …… Δ܃ംሐΚψچየᓡࢤך Δֱچ૭༼ࠩ۞աუ༈ԫଡψࣽᗤࡺωऱەչᏖΛωᅝຽ ૠ࿓߫ωڶψנጹ്ࠩ౨ᚲثࠀംದૠ࿓߫Εள塢ழΔ႕ཎ ႕ࡿٻრ༼ࠎٚ۶ᇷಛΔՌ۞ߨྤث૭ณߠ႕ཎەΖຽڗ༓ଡ ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 32 ૭լەࠄࢋ୮ऱ್ሁΖ൷ՀࠐऱԫՕᐙׂΔ༉ਢຽڶՂഄԫ ள塢ڇΰ Hector David α܌ਲԺΰ Coley Trimble αፖ௧גׄټࠟ ছऱᣯങΔՈլጥள塢ຂԳΰ Pete Wirth αψࢪၴԱωऱ ऱࡢٻईీף۰ၞள塢Δ൷ထਈᤞݝΔࠩټߢΔ࿏ਢᝒ ψࣽᗤࡺωΖٻΔຕ۞ၲٻཏ߫ΔംԱֱٳࡢᣝ౿ΰLiz Wirth αଗ ৬ᗰढڇاऱ૿Δਢೖዩլ೯ऱ႕ࡿࡺנຍᐙׂխլឰڇ ۞ٻԫኟਢԫڶ૭Ζᐙׂխەᇙࢨ॰༔ՀΔᗭီထߨ೯ऱຽ ΰDoc T. R. Velie Jr. αΔس᠔ܓࡎ堚Εլᣋ௫ԵՂिऱፂ ߨመΖ࿗؆ऱནીѧѧ՞Εޡ૭Օەሶထள塢ੲᑿ࿗ထຽ ฝޡ૭ՕەຽڶΕ႓ՒሁΕ৬ᗰढΕࣆ߫ՠࠠѧѧᝫف؎ዣΕ ٻ؆طᎬኟՂದࠐ༉ቝਢڇੲᑿ࿗ՂΔڇᐙދ೯ऱߪᐙΔٌ៣ ԫኟਢڶೝΔᐙׂխᝫڶऱᜭՂΖྤᗑس᠔ܓፂڇٱ௹փΔ ࿗ڻᤞኘݝΖຍٻ૭ߨەኃΔሶထੲᑿ࿗ထຽٵגയཎᏆׄ ऱߪ᧯ᢰᒴፖ؆הയཎऱᜭՂΕߪՂΔቅழᨃڇᐙދ؆ऱནી ΔࢹՀԫس᠔ܓழΔߪ৵ऱፂڼڇԫׂᑓᒫΖ༉ګٌᘜڇ ထقᄆڇۿΔװ᠏ߪۖܛᄎᇿᤞ९ᎅࠄչᏖΛωΔඝהუ܃ψ യཎխ֨ऱאլ٦ݙ٤ᦫࡎ࣍യཎΔՈ༉ਢ႕ࡿس᠔ܓፂ փհৢڇၴΰኙᆃຨ़ڇ؆֗א૭ऱࠩࠐΔەᦞԺዌΔᙟထຽ ૭ऱەΖയཎֺᓴຟᝫ堚ᄑຽ᧢ޏኬኬڇإଡԳαऱԵॿΔ ૭වە്ኙຽהࠩࠐඔ೯Ա႕ࡿ໌႞ऱტԺΔຍՈਢչᏖ ٲ૭լߠ౨ࠐەᏍᎁຽ֘הԫਢڶԳᄰՑΖᐙׂխ ࠐΔ՛༉࿇ದהᙠऱᓵᓳΚψຍّቝଡ֚क़ृΖؚൕ Δֱ՚Օ႖ΔՑլᖗߢΖۀ࿇ఐকثᗈΕఐΕఐཋΖ႕ཎ ࡢࡢᣝ౿ࡋΛቝ܃ኙݺຍᏖլড়Ζڻࠐรԫڣਢس᠔ܓፂ ऱࣟ۫ડྥشཏ߫Ζۖ༼ࡥຍٳהଡมΖΞΞࡺྥมࠩଗ ᤚ۞աᇠᅝದᤞ९ԱΞΞωΖ ऱኙاٵፖլה࣍᧯چ૭ኙ႕ࡿऱტԺΔ່堚ᄑەຽ ࡉள塢ຂڇଚኙழၴੌ೯ऱტवΖاದچլឰהᇩխѧѧ ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 33 ૭ە૭ऴਐೖዩऱழၴᎁवΖຽەԳऱԫஂኙᇩխΔຽ ਢڇΚψطךΔψড়የԱωΔᝫլݱᇖق۰ࢪΔ।ޣ Κψᖏञ༓ଡִছנរچ૭ฆەऱΖωຽוؚڇΖ؆ᙰᝫ 1945 ޔԱΔլਢႯΛω܀ਢ᧩ྥࠀլუ૿ኙψᖏञբᆖޔωΔ ڇਢόढᏝጥݝύᝫਢױഒΚψהᨠऱኔΖޏࢨழݝբᆖ ளࢋऱܫۯጥٻऱωΔ 22 ֟࣍նԼၴড়ࢪऱள塢ؘႊࡳழ ᅝڂᑊ֨ဠΔ܍ΔԫᢰլဲڶᆖᛜणउΖԫᢰუ Δឨధם૭բᆖᙟ֫ၲ឵ឺՂऱளড়࿆ಖەԺቹᇞழΔຽה Աψள塢բᆖড়የωऱᝒߢΖۖᅝྥլਢ႕ࡿഄԫԫଡ ᅸߠຽڻΖᤞ९༼ࡥรԫا࣍Բᖏழၴፖᖏழ᧤ᙀऱࡺڜೢױኑ ૭ࢨृਢሁመΔࢨृਢەݦඨຽچ૭ழΔՈਢ۞ᓡࢤᖺە Δۖլਢࠐਗᖏ႕ࡿႃ᧯ᆞ۩ऱג၇ᔄׄೋࢨልขऱກড়ׄ ᅝထאױբᆖה૭ऱኙᇩհ৵Δەԫ྾ፖຽڇ؆ࠐृΖլመΔ ࡎூࡡײছ౨ᒔኔᓳᕐڣա۞נയཎऱ૿Δቔದটᎅ չᏖհছΔݺᇠ٣ထ֫ᓳΖωנ૭ەຽڇऱᙊᖌΚψՈ ᖋΔլڃଚլཊהऱழၴܺቼΔࠐ۞࣍اาᨠኘΔ႕ࡿࡺג ԫጟྤַቼᐡᩀፖڇࡡΔ౨ೖዩ۩حছऱጟගڣ᠖堚װᣋ سଚऱהऱழၴࡉီມၞԵڇᐞऱൣቼփΔྤऄᨃ؆ྡྷ ᅝՀ౨টཊᖜऄ৳ᓳऱຂٚΔ۞سࠃٙ࿇ڇڂΖ༼ࡥ Δᤚழਝྥྤऄፂᢀऄ৳ऱ༇ᣤΔհ৵٦չᏖຟۦৼ۞ ऱ۩೯ΔߪະլऄΔഄஎࣟײፖԱ૰୭ᕐڂழբඡΖঞ ᚫஇΔլ౨ٚࠃΔψਢሜಲऱறωΙה࿗ࠃ࿇Ζയཎᢡూ ਢუಲၒຟψ֜ᙈԱΖڇਗࣔထᎅΔޓയཎऱ֫ՀਲԺঞ Δ۩حፖڶΖωऱࡢࡢᣝ౿װፖࠡխΔୌࠝՈუה լ्ᠦၲ႕ࡿΔਢא૭Δ۞ահࢬەຽ္ܫڔհߪΖطᅝਢ۞ 22 !! ˧ǪIJϘĢ :à !“Office of Price Administration” ?ȦO^ɛ̰ĭa> “OPA” :ϧˬϞɑL#Μŏɩ><Œ˧Ǫ;̀΄˧)p ˶×´<Çŏ ɩϧ 1940 h 5 AǮ 1946 h 12 A< ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 34 ຍ՛ΖڇԱչᏖΔݺຟᤉᥛৱسլუᠦၲΚψլጥ࿇ڂ ຍՂऱԳਢݺऱᔣࡺΕݺऱ֖ࣛωΖᙟထሽᐙൣᆏऱ࿇୶Δᣝ ԱᇞΔਢൣტऱหΔᨃאױࣔ᧩Ζᨠฒף౿ኙയཎऱტൣყ Δנຍᇙृუਐڇ ᣝ౿ᤚլጥչᏖຟբᆖψ֜ᙈωΖ 23 ਢཆຍጟψ֜ᙈωऱ֨ኪΚ໌႞բإΔᔾऱاയཎ൳ࠫ႕ࡿ ΔչᏖຟψ֜ᙈωΔᦞࡵհૠᅝྥ༉ਢጹࣄയཎΰࠡګທྥ س᠔ܓ৫ֲΖ༉ቝፂڜೢޣאኔᎄຑຑαऱᖵፖழၴᓵ૪Δ ਢ༼ࡥ༉֘ംΚױઌॾΖω܃ଚԱԫଡਚࠃΔהࢬᎅऱΚψ ઌॾ߷ਚࠃႯΛωψ֜ᙈωਢ៶ՑΔਢಜΖছ֮༼መΔ܃ψ ਢ໌႞ሀ။ழ़֘܀Δ᜔ྤऄݙᖞ٦Δڰ႞᜔ਢࠐ֜໌ ᄷᒔऱᎅΔψ֜ޓլᙈΖةԺܘߪऱࢤΔথᨃዀඝ໌႞ऱ ࠐኲྥ֊໊Εྤൕಭ֘ऱآΕፖڇΕװ࣍መمᙈωऱᄗ࢚৬ ࣍໌႞ழၴऱ֘Ꭰڇژ೯౨থܒޅ࢚Δۖ໌႞ࠐऱඖ૪Ε ኙڇழၴխႚΔڇאױΖ໌႞ឈྥլ౨࠷ࢨ৮ؓΔথ ऱԺၦΖፂٻֱ۩ᖵၞ᧢ޏسԺխขܘૹ૪ऱڇᇩխႜᦫΔ ૭ە堚ᄑԱຽڂإ૭ๅᠦᙠቼΔەຽܗ৵ެ֨ᚥ່س᠔ܓ ᖲᄎωΰ a second chance αΔڻऱࠩࠐΔਢᖵԱ႕ࡿψรԲ ႕ࡿૹዝΖڇᙇᖗլᨃවԳᄰՑऱ໌႞אױଚה ૭౨ە૭ٌ֫ΔԫၲࡨՈਢݦඨຽەլᣄᇞΔയཎፖຽ ऱՀᆵΖײ൷࠹ψԫ֊ຟբ֜ᙈωऱუऄΔवᣄۖಯΔ࣋ඵؚᦫᕐ ᖲᄎΖ ’41הል֛Δᖵൕመءਢψֲײ૭Δᕐەຽ္ܫה ੴఇཽࠃ᧢հছΖԿଡִ৵Δ༉ಬၞᔢൔᛜԱΖωڇჺࠐΔ༉ڣ ಬၞᔢൔᛜᅝྥਢᝒߢΖയཎᒳທຍଡਚࠃΔԫࠐԱײᕐ 23 L½κ˧:̂ɜlΤϐȓʒ'̌Ń: ̑²Ê:ͪ9GȓÑʒ'̌Ń ˶àB:p"O^ˡ þǼN ŷ{KǕ ˶Ʀª ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 35 հ؆Δຍଡᝒڼ۶ൕ႕ࡿ؈Ζೈײᨃ۞աๅᆞΔԲࠐᎅࣔᕐ אױωຍٙࠃײψව୭ᕐܛߢᝫ֘ਠԱയཎԫ༖ൣᣋऱྐඨΔ ᝫਢײΔᕐײࠌ۞աව୭ᕐܛࠩભഏᖏழഏ୮ਙऱહΚ ᇩᎅΔ۞ալመࡅᚨᄎಬԵᔢൔᛜΔԫᑌᄎ؈լߠΙང ຟᄎऱࠃΖլመΔയཎऱᎅڰਙࢌᙈۿભഏਙࢌΔԱᣊ լ֗ᢅཎ壂הΚײωවԱᕐڰࠟଡధጳΖଈ٣Δയཎψ֜ڶ ᧢ੴఇཽࠃڇΔمΔՈլࠩᔢൔᛜ৬חอऱ 9066 ᇆ۩ਙࡎ᜔ ԿଡִڶࡉભഏਙࢌऱਙΔ܂Ζയཎऱײሶ֚༉୴වԱᕐ ګऱழၴΖۖೈԱழၴՂऱլԫીΔയཎ۞ᒳऱਚࠃլ౨ אભ֜ؓᖏञᡨ࿇ֲڇਝྥײΚᕐطૹऱޓԫଡڶΔᝫم ॵ२ऱ႕ࡿΔۖࠅٌڠהΕፖྫק۫ڠࡺࠅᖵௌۯছჺࠩ ᖏωΰ military܂তຝቤભഏ۫ࡾऱψ૨ࠃڶڠᖵௌ լᄎᔡࠩભഏਙࢌൎࠫᔢൔΖৰࣔ᧩ऱΔءהareas αΔ 24 ߷Ꮦ ૪ᔢൔᛜࠃٙΔٞቹ֧הയཎࠀլ堚ᄑᔢൔᛜऱਙፖᖵΖ ܀Δޡٵፖભഏਙࢌ܂֏۞աऱጟගᆠΔࢨᢞࣔ۞աऱٽ ߪભഏ۫তᢰቼΕה֗אࠡኔᑊԱ۞աኙ؆ࠃढऱྤवΔ ඈೈ࣍ഏ୮ਙएհ؆ऱࠃኔΖ Գω।ွൣءψ࿀ֲהԵਉൺയཎऱߪٝܺቼΔԱᇞ π႕ࡿໟۨಖρڇߠᔢൔᛜאױᖲࠫΔݺଚ܂ፃհՀऱ壄壀ሎ ऱࠡኔਢભഏषᄎנ୴ދᐛणΔ܂ಜΔֲભጟග໌႞܂խ ฆऱംᠲΖയཎದࠐ༉ቝਢԫଡࠢچբՆऱၸ్ፖ➎ި ԳፖֲᇔءԳΔࢴ։ֲءীऱጟගᆠृΔՑՑᜢᜢ࿀ֲ ભഏԳΔᎁψ࢘ᇨֲભԳωऱᎅऄլመψਢଡూᇩωΔၞۖല ਢπ႕ࡿໟۨױ֏ფഏऱ।ΖٽռီΕව୭ֲભԳऱ۩ ء࣍ψߵ༞ֲٵψ࢘ᇨֲભԳωլع૭հՑૹەಖρլຘመຽ ەຽ֗א૭ࡉയཎΕەᒔଥΔᝫຘመຽإԳωऱࡴֱठਙए 24 ϖƥJ;Ȥ͎ 1< ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 36 ΖรڂᐋऱޓײऱኙᇩΔ༿࿇യཎ૰୭ᕐس᠔ܓ૭ࡉፂ ຍڂΔਢײΔയཎᅝॣᔄψࣽᗤࡺωᕐس᠔ܓԫΕᖕፂ क़ᙒ၇ՀԫჇྤऄౙጟײූΔྤऄౙጟΖയཎუᣑᕐچჇՒ ԱנՂਉچຍჇڇچۖլඍྥຶײუࠩΔᕐڶΔᆄᆄچऱՒ ऱֽޣאࠐኄ༆א९ՆاऱմΔᛧԱ႕ࡿࡺܢԫଡሒքԼ ΖรԲΕੴఇཽࠃ᧢ᡨ֨ڇჍײኙᕐڼڂᇷᄭΔۖയཎথՈ Եભ૨Δუࠩףࠥݦඨمڰ࿇ΔയཎየᡖഏᑷݵΔሶ֚ԫ ભ૨ࢴऱהᐙׂխႛ᎘༴ᐊऱ༼ࠩΔڇࢴԱΖയཎ ۶Δຍଡࢴऱᆖڕᓵྤ܀ωΰ physical αΔైڂਢψ᧯ڂ Δᨃയཎߪભഏ۫তዣΔྤऄᘜԵભഏഏ୮ਙएऱߪٝ᧭ Δײව୭ᕐا႕ࡿࡺٵԳΔኃءࣔ᧩Ζയཎ࿀ֲףቼყܺ ՕޓڇЯֲભԳωΙءფഏΔભഏᦀດψֲהڂኙլႛႛ ጟගښഒط៶ߪՂΔײᕐڇ୴ދਢല۞աऱᢰᒴࢤה։ՂΔګऱ ऱભٲױ۰۞աݤݤښߢࡉრᢝݮኪՂڇאૻΔᦀດฆաΔ ഏߪٝΖ ԱᇞԱയཎऱߪٝܺቼΔ༉լᣄᇞΔയཎհࢬ؟ԫۖ ભڇ୭ࢢߠ۞աࡉֲᇔભഏԳڂؘႊൎᓳጟග։Δਢא ԫᇩᓵ֗ԱߪڶᆜΖᐙׂխΔയཎۯऱᢰᒴٵഏਙएխઌ Գڶഏ୮֮֏խஇႨฆաऱྤΚψլழ܂ભഏ۫তᢰၾΕ ຝΖኙ۫۔ଡչᏖѧѧኙᖵᖂ୮ۖߢΔຍᇙਢބࠩ۫ຝຍॵ२ რԳࠐᎅΔຍᇙਢլ࿇ሒऱ۫ຝΖس୮ۖߢΔຍᇙਢ۫ՕΖኙ܂ ݺڇ܀Օ୮ຟᎅݺଚຆᒡΕᆵ৵ΔݺუՈਢΖݺଚຑֽຟլജΖ Ζωܣଚ۞աณխΔຍ༉ਢݺଚऱ۫ຝΔ؆૿ऱԳ༉ᓮ࣋ݺଚԫ್ ΔথԾլឰृהയཎ࿀ऱࠡኔਢ߷ࠄᎁ۫ຝਢᆵ৵Ε᨟ ᖏञᡨ࿇հছჺࠩؓ֜ڇײছࠐ൲ኆፖଷচᇷᄭऱ؆ࠐড়Ζᕐ ࠀլਢהΙسچ႕ࡿᆵڇΕൺմΕౙጟΔឭࣔԱچ႕ࡿΔ၇ 墿༉ؚጩߨԳऱ؆ࠐܓΕԱޣയཎՑխ߷ጟኙ۫ຝղ࠷ղ ऱൺմፖౙጟݾהയཎऱဩܽᔣࡺΔګאױࢨृײড়Ζᕐ ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 37 ༉ڰയཎΔڕԫاਢ႕ࡿࡺ܀႕ࡿऱᆖᛎܺቼΔޏאױࢨ ԱஙฆաऱભᐚΖ25 യཎװխΔ؈މၜඝऱڇፖ؆ڇ Ε֮֏Εፖچ۟Ա۞աᇠ࿀ऱኙွΔല۞աࢬᔡ࠹ऱ اऱֲᇔભഏฝٵլۥᓤ፹ࠩፖ۞աᓅףၸ్լؓৱሖΔ ऱ໌႞ፖᐬ⥤ฝ᠏ᖿၞऱጟගᆠΖڶߪՂΔലࢬ ࢍᐋΔᎅࣔയ܂ᇢထ։࣫႕ࡿጟගᆠऱ壄壀ሎڼڇृ լਢ࢙ီጟගޓཎऱߪٝܺቼΔᅝྥլਢጟගᆠृๅᆞΔ ᔢൔנრਢਐشᆜΖृऱۯભᔢൔᛜඖ૪խऱுֲ֨ڇᆠ ऱጟගمᛜऱᖵ໌႞Δॺូࡏԫଡመ৫១֏ऱΕൎᓳػ႓ኙ ᩹ΰReaضڕᆠ༉౨ᎅ堚ᄑΖઔߒֲભᔢൔᛜඖ૪ऱᖂृΔ Tajiri αΕཎ्ΰMarita Sturken αΕ֗ᆢ್ཎΰ John Streamas α ࠃٙᐙײᕐאൎᓳπ႕ࡿໟۨಖρڍᔹᦰπ႕ࡿໟۨಖρழΔڇ ᆠΖ 26 ຍᑌऱᦰऄထณֲ࣍ભإ୴ֲભᔢൔᛜऱᖵΔ္壆ጟග נਐڇጟගᆠ૰୭ऱᖵΔࠀ֗אԲᖏխႃ᧯૰ᔢฝڇषᆢ 25 ²ÊȎ'̌Ń{ !ε{̗˶¦Ϟ<²Ê]ϓ>»ʊɄȿP¦aZ] #Ǩ:'̌ŃǡȔ ɻė/$ ėJþϧ °ʏ" ?²ÊͣοHKH Ǖ@ Ŀ ˹]>°̺7˶ʏ"ϧXΡ̰͡ <²Ê˶]:]ƿ:ϜΜ "'̌Ń˶̂ÇΛσ:9ƿ "°˶Ŕ <'̌ŃţǦaʊɄȿPÍϕ] 5νȦ@ϧǣə˶ς'̀ţ˼̃αǰ:͋Ǒ°` ŶȬϣR p U Upǀ A 26 _ɎLɳzOς'ţɳΘV History and Memory: For Akiko and Takashige ; 1991 W^}įʊɄÔɳώ˶¦Ϟ:8ēK̻ ϕOZ»>?˼ΗL ˬdǀḁ̀ ˶ς' 1ȤΡ<ȦO^:LͳÇ̈Ξ;£R »ɧȭýʼn ς' aκ:ʘàΡʃ²ÊLʊɄÔɳ^˟$͝1Ϊ˶¦Ϟ<Ń ǚ̒ϋ:]&ʊɄLɁ˶ˬ°ͩɓðæň j̊"˔ψȬ̯̱āɱL˶ ɓð V 697 W:ΫȦO %ȯş:p K Û ?ω̯̱ā˶; ̪+ ţˬĬ˶˯~˨ˎ V 699 W<"ΗʪŃLǦ̎̂ʊɄÔɳ˶̂; ^ɓ Ŧϕ :ʊɄɁPΑ?ȿPʒK:κ˶!eȎˬϞɑØ]? 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Born Free and Equal: Photographs of the Loyal Japanese Americans of Manzanar Relocation Center. New York: U.S. Camera, 1944. ѧѧ , and Toyo Miyatake. Two Views of Manzanar: An Exhibition of Photographs . Los Angeles: Frederick S. Wight Art Gallery, UCLA, 1978. ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 40 Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art . Stanford: Stanford UP, 2005. Caruth, Cathy. Unclaimed Experience: Trauma, Narrative, and History . Baltimore: Johns Hopkins UP, 1996. ѧѧ , ed. Trauma: Explorations in Memory . Baltimore: Johns Hopkins UP, 1995. Chen, Fu-jen, and Su-lin Yu. “Reclaiming the Southwest: A Traumatic Space in the Japanese American Internment Narrative.” Journal of the Southwest 47.4 (2005): 551-70. Commission on Wartime Relocation of Internment of Civilians. Personal Justice Denied: Report of the Commission on Wartime Relocation and Internment of Civilian . Seattle: U of Washington P, 1997. Daniels, Roger. American Concentration Camps: A Documentary History of the Relocation and Incarceration of Japanese Americans, 1941-1945 . 9 vols. New York: Garland, 1989. ѧѧ . Concentration Camps, North America: Japanese in the United States and Canada during World War II . Malabar, FL: Krieger, 1981. Ding, Loni, dir. Nisei Soldier: Standard Bearer for an Exiled People. Center of Educational Telecommunications, 1984. Dusselier, Jane E. Artifacts of Loss: Crafting Survival in Japanese American Concentration Camps . New Brunswick: Rutgers UP, 2008. Eaton, Allen H. Beauty behind Barbed Wire: The Arts of the Japanese in Our War Relocation Camps . New York: Harper, 1952. Egami, Hatsuye. The Evacuation Diary of Hatsuye Egami . Pasadena, CA: Intentional Productions, 1995. Fukuda, Yoshiaki. My Six Years of Internment: An Issei’s Struggle for Justice . Trans. Konko Church of San Francisco. San ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 41 Francisco: Konko Church of San Francisco, 1990. Gesensway, Deborah and Mindy Roseman. Beyond Words: Images from America’s Concentration Camps. Ithaca, NY: Cornell UP, 1987. Gordon, Linda and Gary Y. Okihiro, eds. Impounded: Dorothea Lange and the Censored Images of Japanese American Internment . New York: Norton, 2006. Guterson, David. Snow Falling on Cedars. New York: Harcourt Barce, 1994. Hayashi, Brian Masaru. Democratizing the Enemy: The Japanese American Internment . Princeton, NJ: Princeton UP, 2004. Hicks, Scott, dir. Snow Falling on Cedars . Universal Studios, 1999. Hirasuna, Delphine, Kit Hinrichs, and Terry Heffernan. The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942-1946 . Berkeley, CA: Ten Speed, 2005. Houston, Jeanne Watatsuki and James D. Houston. Farewell to Manzanar . New York: Random, 1973. Ichioka, Yuji, ed. Views from Within: The Japanese American Evacuation and Resettlement Study. Los Angeles: Resource Development and Publication, Asian American Studies Center, UCLA, 1989. Inada, Lawson Fusao, ed. Only What We Could Carry: The Japanese American Internment Experience . Berkeley: Heyday, 2000. Ishigo, Estelle. Lone Heart Mountain . Los Angeles: Anderson, Ritchie & Simon, 1972. Ito, Robert. “Concentration Camp or Summer Camp?” Mother Jones 15 Sept. 1998. 1 Nov. 2009 ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 42 Kashima, Tetsuden. Judgment without Trial: Japanese American Imprisonment during World War II . Seattle: U of Washington P, 2003. LaCapra, Dominick. Writing History, Writing Trauma . Baltimore: Johns Hopkins UP, 2001. McWilliams, Carey. Prejudice ΫJapanese-Americans: Symbol of Racial Intolerance . Boston: Little, Brown and Company, 1944. Nash, Phil Tajitsu. “Michi Weglyn, 1926-1999.” Asian Week 20.35 (19 Apr. 1999). 1 Nov. 2009 ᖵಖᖋፖ໌႞ழၴΚඖ૪ֲᇔભഏᔢൔᛜʳ 43 Sturges, John, dir. Bad Day at Black Rock . Turner Entertainment, 1954. Sturken, Marita. “Absent Images of Memory: Remembering and Reenacting the Japanese Internment.” Positions 5.3 (1997): 687-707. Tajiri, Rea, dir. History and Memory: For Akiko and Takashige . Women Make Movies, 1991. Tanaka, Janice, dir. Who’s Going to Pay for These Donuts, Anywa y? Women Make Movies, 1992. Tateishi, John. And Justice for All: An Oral History of the Japanese American Detention Camps . New York: Random, 1984. Uchida, Yoshiko. Desert Exile: The Uprooting of a Japanese American Family . Seattle: U of Washington P, 1982. Wallace, Isabelle. “Trauma as Representation: A Meditation on Manet and Johns.” Trauma and Visuality in Modernity . Ed. Lisa Saltzman and Eric Rosenberg. London: UP of New England, 2006. 3-27. Weglyn, Michi. Years of Infamy: The Untold Story of America’s Concentration Camps . New York: William Morrow, 1976. Woodward, Mary . In Defense of Our Neighbors: The Walt and Milly Woodward Story. Bainbridge Island: Bainbridge Island Japanese American Community, 2008. Yamada, Mitsuye. Camp Notes and Other Poems . San Lorenzo, CA: Shameless Hussy, 1976. Yamamoto, Hisaye. “The Legend of Miss Sasagawara.” 1950. Seventeen Syllables and Other Stories . Piscataway, NJ: Rutgers UP, 2001. 20-33. Yasui, Lisa, dir. A Family Gathering . New Day Films, 1988. ຫ壂ոΕཾైੳΖτૹᢄભഏ۫তΚൕ़ၴᇣᖂ൶ಘֲᇔભഏ֮ αΚִ 6 ڣ ᖂᇙऱႃխᛜᐊυΖπխ؆֮ᖂρ35.1 ΰ2006 41-57 Ζ ִ 3 ڣ ʳ ^/;Ώ Ηร 41 ࠴Ηร 1 ཚΗ 2012 44 This essay examines Dream Jungle’s intervention into the imaginary configuration of the Philippines. Lacan’s elaboration on “purloin” prompts a reading of the Philippines as not simply “stolen” by imperialism but “pro- longed”—via Hagedorn’s fictional creativity—into a community evolving through imperial intrusions, translo- cal displacements, and encounters. The Remains of Empire and the “Purloined” Philippines: Jessica Hagedorn’s Dream Jungle HSIU-CHUAN LEE essica Hagedorn’s third novel, Dream Jungle, derives primarily from two events that took place in the Philippines during the 1970s: the discovery of the Tasaday tribe Jand the filming of Apocalypse Now. 1 Upon seeing the obituary of Manuel (Manda) Elizalde Jr., the “discoverer” and “protector” of the Tasaday in 1997, Hagedorn decided to juxtapose these two events in a novel, not in order to pass judgment on the anthro- pological discovery (or fraud) or on Francis Ford Coppola’s epic film, but, in her own words, “to capture moments in time”: “these really interesting events all come together between 1971 and 1977. I just really wanted to capture the decadence and turbulence of it, the scholarly back-and-forth about it, the arguments, the mysteries, and sheer excitement” (Aguilar-San Juan 6). To what extent Hagedorn successfully “captured” these moments of the Philippines, in what way, and what this might contribute to the conception of the Philippines in relation to its imperial legacies are questions pertain- ing to the larger issue of the relationship between literature and nation-building. Mosaic 45/3 0027-1276-07/049016$02.00©Mosaic 50 Mosaic 45/3 (September 2012) The affinity between literature and the making of the Philippine nation can be traced back to the writings of José Rizal during the Spanish colonial era. Featuring social commentaries that inspired collective dissent against Spanish authorities, Rizal’s writings have been considered foundational to the rise of Philippine national con- sciousness and taken as models for “the Great Filipino Novel” during the American colonization period (Gonzalez 962). Hagedorn’s novels, however, deviate from this nationalist tradition. Born in the Philippines, Hagedorn moved to San Francisco with her family in 1963, and has since maintained a double affiliation with both the United States and the Philippines (Hagedorn, “Exile” 181). Her position as an expatriate Filipina accounts for her ambiguous relationship with the nationalist project of the Philippines. Her postmodern writing strategy, as demonstrated in her first novel Dogeaters, is further manifested in Dream Jungle: the mixture of real-life and fictitious elements, disjointed narrating voices, and gossip-driven fragmentary style distinguish her work from the realistic appeal and epic scope of nationalist writings. Given the inadequacy of trying to understand Hagedorn’s writings based on a narrowly defined “national allegory,” this essay sets out in search of another model to characterize literature’s engagement with nation. Of pertinence is Neferti Xina M. Tadiar’s attention to literature’s non-realistic experimental power. In Things Fall Away, Tadiar proposes to look to literature not “for typicality or representable reali- ties,” but for its “creative possibility” that “recasts lived experience so that it no longer takes the form of incontrovertible social fact but instead takes on the experimental character of literature itself” (17). Moreover, she associates this creative force with literature’s capability to capture “historical experiences that ‘fall away’ from global capi- talist and nation-state narratives of development as well as from social movement nar- ratives of liberation” (5). Literature is compared to “cultural software” (16) that processes the subaltern, the supplementary, and the diminished—experiences exceeding and escaping the structure of the imperialist, the nationalist, and the social liberationist— with a view to making “other social relations available as potential bases of new polit- ical movements” (11). Tadiar does not include Hagedorn in her discussion. Yet Hagedorn’s attempt to appropriate historical events into fictional juxtaposition and imaginative transposi- tion makes Dream Jungle a tangible example of what Tadiar describes as literature’s “tangential” engagement with the Philippine “hegemonic and counterhegemonic forms of political agency” (5). In fact, the title “dream jungle” resonates with Tadiar’s emphasis on the force of “dreams” in structuring social realities ( Fantasy 22-24). To grasp the mechanism and consequences of Hagedorn’s “dreams,” this essay draws on the idea of “stealing,” more precisely “purloining,” to comprehend Dream Jungle ’s Hsiu-chuan Lee 51 imaginative intervention into the configuration of the Philippines. I allude to the con- cept of “stealing/purloining” at three levels. First, the national status of the Philippines has been “stolen” by imperial forces not only during the years of colonization but also after the Philippines has formerly declared independence. Second, the Philippine archipelago has been known for its thieves that constitute a perpetual, albeit margin- alized, “banditry” force against colonial control (Ileto 115-16). Being aware of and weaving these two “stealing” forces into her text, Hagedorn demonstrates her resist- ance to both imperial ideology and nationalist constraint by further “purloining” a striking moment of Philippine “neo-coloniality” in her novel. Jacques Lacan’s reading of Edgar Allan Poe’s “The Purloined Letter,” which elaborates “purloining” not simply as “stealing” but as “prolonging” and “extending” through displaced social relations and shifting discursive structure, offers a critical light to see the Philippines as not simply stolen by empirical forces, but rather “prolonged”—extended—through a complex series of imperial intrusions, translocal displacements, and encounters. he constitution of the Philippines has been inseparable from its colonial histories. T The result of three centuries of Spanish colonization, a half-century of American rule, and the Japanese occupation during World War II, the Philippines and its peo- ple, in the words of Vicente L. Rafael, are “permeated with foreign origins, their his- torical realities haunted by the ghosts of colonialism” (9). In the 1970s, the Philippines still struggled under the remains of empire. Not only did the Marcos government rely heavily on the United States’ monetary and military assistance, but Philippine society was permeated by imported Western media and commodities. Also part of this “imperial haunting,” though less obvious than the neo-colonial presence of the West, is the fact that the idea and contour of the Philippine “nation” is itself an imperial inheritance. First, it was Spanish rule that gave the initially disparate islands a carto- graphical unity, not to mention that the archipelago was named after King Philip II of Spain. Besides, American imperialism, under the guise of benevolent tutelage, instilled in Philippine national formation a “mimicry” nature. Nationalism became an ideal because it was taken as a norm of modernization, a sign of civilization. The complicity of imperialism and Philippine nationalism vividly played out in the events of the Tasaday and Apocalypse Now. Claimed for a time as a previously unknown “Stone Age” tribe discovered in the remote Mindanao rain forest in 1971, the Tasaday became an overnight sensation, its images widely distributed to an inter- national audience, most notably through NBC News, National Geographic’s pictorial report, and journalist John Nance’s best-seller The Gentle Tasaday. Yet the discovery also raised questions and doubts. Elizalde, the alleged “discoverer” of the Tasaday and 52 Mosaic 45/3 (September 2012) the head of the Private Association for National Minorities (PANAMIN), strictly reg- ulated outsiders’ entry into the rain forest. In 1972 Marcos ordered a 46,299-acre patch of jungle closed as a reserve for the Tasaday, and public access to the tribe was completely forbidden after 1974. Immediately after the overthrow of the Marcos regime in 1986, the Tasaday again grabbed international attention, this time no longer as the anthropological find of the century, but as an elaborate hoax perpetrated by PANAMIN and the Marcos administration. The question of whether the Tasaday formed an isolated, cave-dwelling Palaeolithic group or were local people hired to portray the ultraprimitive has since become a matter of debate in the field of anthro- pology, in the media, and among politicians. 2 In hindsight it becomes clear that it is too reductive to try to prove that the Tasaday were either genuine or fake. Since its beginning, the Tasaday event has been more than an anthropological inquiry into a tribal minority. At stake was the com- plicity between the Marcos administration, the United States government, and the global media. First, the discovery of the primitive tribe, and the ensuing Philippine governmental policy to protect the tribespeople, effectively bolstered the “human face” of the Marcos administration and distracted international attentions from the martial law declared in 1972 (Hamilton-Paterson). Second, by proclaiming a reserve around the Tasaday, Marcos might secure, in the name of protecting minor tribes, his and Elizalde’s “exclusive rights” to the natural resources of the area (Berreman 31). Most essentially, the Tasaday as a “pure” Filipino indigenous group “untouched by all foreign influences” was utilized as “a rallying point for cultural supernationalists” (Lynch and Llamzon 12). Marcos and Imelda were known for their fascination with anthropology and tribal Filipinos: they were “obsessed with the search for a common Filipino identity, a link with an ur-Filipino” (Hemley 83). The idyllic image of the “gentle Tasaday” that lived in “a Garden of Eden” (Lindbergh ix), with no hunting skills and no concept of war, became the perfect embodiment of the nation—“the ideal ‘Filipinitude’” needed for conceiving a Philippine identity free from the archi- pelago’s long-term colonial history (Dumont 265). Ironically, the construction and distribution of this “ur-Filipino” image of the Tasaday was largely the work of Western media. Known and usually criticized for his “hunger for publicity” (Hemley 36), his taking press as “more important than the sci- entists” (39), Elizalde brought news crews and celebrities such as the aviator Charles Lindbergh and the Italian actress Gina Lollobrigida into the rain forest, generating a “media rush”: “A television crew had already arrived, soon followed by a myriad of snapshotters, newshounds, special correspondents and free-lancers of all varieties” (Dumont 263). Or, as Robin Hemley describes, “by 1972 camera crews had choppered Hsiu-chuan Lee 53 in with dizzying frequency to the Tasaday’s forest enclave, reporters sometimes out- numbering the small group of cave dwellers” (7). Displacing anthropological studies, journalists’ languages dominated the scene and reduced the Tasaday to sellable images and recognizable icons. 3 In addition to being fodder for international media, the Tasaday also appealed to American interests in Asia. Jean-Paul Dumont observes that the whole publicity of the event took “American opinion” as “the intended target” (266). Not only was the Tasaday cast as the United States’ humble, self-satisfied, and peace-loving Asian other in contrast to the war-mongering Vietcong, but Dumont also notes the temporal syn- chronization of the discovery of the Tasaday and the American intervention in Vietnam: “Elizalde encountered the Tasaday for the first time on June 7, 1971. Then, on June 13, 1971, the New York Times began publishing the ‘Pentagon Papers,’ which unveiled the plans of the American intervention in Vietnam. In March and April of 1972, when the American reporters were at work on Mindanao among the Tasaday, the aerial bombing of North Vietnam was about to be resumed [. . .] In 1975, Nance’s book was published, the year when South Vietnam fell, an event the American public witnessed on television.” The media’s representation of the two events fed on each other so well that Dumont claims that there was “more than a mere coincidence” (267). The United States government welcomed the news of the Tasaday for diplo- matic and military strategic reasons. First, the news of the Tasaday diverted the world’s attention from the ongoing unrest in the Philippines, which would otherwise bear witness to the failure of American tutelage. Second, given the fact that the Philippines had turned into an ally of the United States in the latter’s military venture in Vietnam, “domestic unrest in the Philippines looked almost as bad for Washington as for Marcos” because the United States needed the Philippines to be “a loyal, stable aircraft carrier moored within easy reach of Vietnam” (Hamilton-Paterson). The media’s Tasaday zeal faded after 1975. The same year witnessed the end of the Vietnam War. The Philippines nonetheless remained a part of the American popular imagination, this time most dramatically through the archipelago’s collusion with Hollywood in the filming of Apocalypse Now. The helicopters in this American film were provided by Marcos himself. The monetary deal between Coppola and Marcos is described in Hearts of Darkness: A Filmmaker’s Apocalypse, a documentary by Eleanor Coppola: “The production will pay the military thousands of dollars per day, as well as overtime for the Philippine pilots. In return Francis can use Marcos’s entire fleet of helicopters as long as they are not needed to fight the communist insurgency in the South.” This deal underscored the Philippines’ subsidiary position vis-à-vis the billion-dollar Hollywood industry. The fact that the president’s helicopters were 54 Mosaic 45/3 (September 2012) instruments of both domestic political cleansing and imperial cultural invasion pushes one further to comprehend these as two sides of the same coin. For Americans, the Philippines proved a convenient extension of their Hollywood film studio. The archipelago provided the backdrop, the props, and its people as cheap extras. A cinematic adaption of Joseph Conrad’s Heart of Darkness, Apocalypse Now is known for its brilliant conjunction of Conrad’s critique of European imperialism in Africa and the questioning of the American military inter- vention in Vietnam. One irony, however, is that the film and Eleanor Coppola’s doc- umentary reflect little on their own participation in the American imperial project in the Philippines. As Amy Kaplan points out, “Coppola might be seen to counter American exceptionalism, by scripting the war through Conrad’s text, and placing the Vietnam War in relation to the history of European imperialism. The documentary on the making of the film, however, which stands awkwardly between an exposé and a publicity reel, refuses recognition of the film’s complicity with the imperial context that enables its production” (18). The Coppolas’s criticism of American imperialism has its limits. It illustrates what Alan Punzalan Isaac observes as the “unrecognizability of the Filipino and the Philippines” in the American racial and imperial imaginary (xvi). Indeed, the Coppolas not only remained silent about the American imperial history in the Philippines, but also rendered the archipelago invisible by figuring it as a geographi- cal substitute for Vietnam/Cambodia. This invisibility, at first sight, is very different from the hyper-visibility the Tasaday discovery gave to the Philippine indigene. A careful scrutiny of the two events nonetheless reveals that both Hollywood and the Western media were self-serving in representing the Philippines. As Coppola trans- formed, through cinematic power, the intractable Philippine landscape into a scenic jungle highlighted by special napalm explosion effects, the media involved in the Tasaday controversy reduced the archipelago’s indigenous cultures to simplistic signs and one-dimensional identities. eaving the Tasaday discovery and the filming of Apocalypse Now into Dream W Jungle, Hagedorn is fully aware of the imperialism evoked by the two events. Dream Jungle tackles the ugly side of imperial forces. Created after the image of Elizalde, Zamora López de Legazpi is a colonizer, albeit a belated and ambivalent one. He is known for his bad reputation as a playboy, mixing with different women and wielding power with money inherited from his father. The President in the novel, moreover, is a cruel and calculating politician, who enjoys “silly TV shows” and continues to “believe in the democratic process,” despite the corruption of his government and the unrest of Hsiu-chuan Lee 55 society (56). Like the real-life Marcos, he turns Zamora’s discovery of the Taobo (read: “Tasaday”) into “a public-relations coup” by establishing “the President’s Indigenous Minority People’s Foundation” (59). In addition to the descendant of Spanish tycoons and the domestic despot, the “genius” director Tony Pierce and his filming crew are pre- sented as arrogant media imperialists (213). Producing the Hollywood hit film Napalm Sunset, a fictionalized version of Apocalypse Now, the Hollywood filmmakers “walk around here like they own the place,” among whom “Pierce is the worst. Think this country’s nothing but a backdrop for his movie. The people don’t matter, except when they service him and his family” (179). Dream Jungle teases out the neo-colonial dilemma confronting the Philippines. Yet the novel does not stop at a critique of imperialism. Instead of writing within the binary confine of the colonial versus the postcolonial, or the imperial versus the national, Hagedorn fleshes out the events of the Tasaday and Apocalypse Now with fic- tional details of the local and the subaltern. While every party involved in the two events attempted to “steal” a piece of the Philippines for its own benefit, Hagedorn in a way also “steals” the two events, yet hers is not so much an imperial “stealing” as an imaginative “purloining.” To clarify the word “purloin” as it is used in Poe’s short story, Lacan draws on the Oxford English Dictionary to elaborate on the meaning of the word’s two parts. The first part is the prefix “pur-,” as found in “purpose,” “pur- chase,” and “purport”; it derives from the Latin “pro-,” carrying the meaning of “located in front of,” “projecting,” or “substituting for.” The second part, “loin,” is from the Old French word loinger, which, according to Lacan, does not mean au loin (far off), but au long de (alongside). To “purloin” is thus “mettre de côté (to set aside) or, to resort to a colloquialism which plays off the two meanings, mettre à gauche (to put on the left side [literally] and to tuck away)” (“Seminar” 20, emph. Lacan’s). 4 Change of location is essential to Lacan’s conception of “purloin.” When something is “purloined,” it is tucked away, no longer clearly available or visible, because it is taken out of its original place, “displaced” or perhaps “misplaced.” An object usually “disappears” not because it is “gone” (no longer existing), but because it is “misplaced,” not put in the location where we assume it should appear. Lacan explains this by giving the example of a mislaid book in library: “Even if the book were on an adjacent shelf or in the next slot, it would be hidden there, however visible it may seem there” (“Seminar” 17). The seeming disappearance of the book is due to the change of its structural relationship with other books. Similarly, it is by transposing the Philippines into new imaginative contours that Hagedorn “purloins” the Philippines. 56 Mosaic 45/3 (September 2012) Dream Jungle juxtaposes materials, links up characters, and relocates plots. The importance of structure or “syntax”—where an object is, what it is next to, and how it is linked to others—is as clear in Dream Jungle as in Poe’s “The Purloined Letter.” The experienced Prefect in Poe’s story believes that he has searched “every where” (435, emph. Poe’s)—“every nook and corner of the premises in which it is possible that the paper can be concealed,” but the letter is nowhere to be seen (434). The problem is not that it is no longer inside the apartment of the already-identified thief, Minister D, but that one cannot really discover or “grasp” a space without first understanding its “syn- tax,” which is in turn determined by Minister D’s logic, his way of placing one thing next to another. In this case the letter is in effect not “concealed” but put in a letter- rack, a place so obvious that it is never expected or imagined by the Prefect. According to Lacan, the Prefect fails to see the letter because he sticks too much to his previous experiences, that is, because of his “lack of imagination” (“Seminar” 12). Concerning the power of imagination, it is worth pointing out that, in addition to being an ingenious player of political power games, Minister D is both a poet and a mathematician. As a poet, he is taken by many as being “only one remove from a fool” (435). Yet apparently it is because he is a poet, or more precisely because he is at the same time a poet, a mathematician, and a politician, that he is able to “purloin” the letter through his discipline-crossing conceptual model. 5 In like manner, Hagedorn attempts a discipline-crossing project in her effort to fictionalize historical events. In Lacan’s reading of “The Purloined Letter,” the letter moves not from one person to another, but from one thinking structure to another. In Dream Jungle, sim- ilarly, the conception of the Philippines shifts not from colonialism to post-colonial nationalism but rather into an incessantly extending community of individuals mov- ing across racial, class, and national boundaries. Discussing Poe’s short story, Lacan has in mind not just the letter as “a written or printed message addressed to a person or institution,” but also the letter as a linguistic element: “the material medium [ support ] that concrete discourse borrows from lan- guage” (“Instance” 139) or “the essentially localized structure of the signifier” (144). 6 “Letter” constitutes the materiality of a signifier. It is an element with energy and agency. The French word instance in “the instance of the letter” takes on meanings ranging from “urgent or earnest solicitation, entreaty or instigation, insistence, lawsuit or prosecution, argument, example or case” to “authority” and “agency” (Fink 334), thus casting into relief the force of the letter to drive forward the sliding of signifiers. Not coincidentally, Poe’s story begins with an intrusion of a “letter” into the political structure, causing the subsequent drama of power. To “purloin a letter” is to make possible a change, or changes, in signifying directionality. Following the same logic, to “purloin a nation,” as in Hsiu-chuan Lee 57 the case of Dream Jungle, is to enact a new imaginative directionality of the Philippines through fiction writing. Drawing on the Tasaday discovery, Hagedorn demonstrates lit- tle interest in contriving a myth of Filipino nativism or tracing the national origin of the Philippines. Far more significant than looking for a pure Philippine identity is to allow— to play out, alongside the Tasaday debate—the rhizomic branching of Filipino/as, most of them disprivileged and marginalized like the Tasaday. Similarly, the shooting of Apocalypse Now in Dream Jungle is taken not simply as an example of Western media’s invasion into the Philippines. Hagedorn fills up the filmmaking process with a circuitous series of local stories that go unbounded by the Hollywood project. lthough Hagedorn does not use the word “purloin,” the image of “thief” recurs in A Dream Jungle. In a way to invoke the “banditry” tradition of the south-western-Pacific islanders, the novel begins with excerpts from Antonio Pigafetta’s account of the Portuguese navigator Ferdinand Magellan’s first voyage around the world, in which the Mariana Islands to the east of the Philippine Sea are designated as “islands of thieves”: “Those people are poor, but ingenious and very thievish, on account of which we called those three islands the islands of Ladroni (i.e., of thieves)” (3). Following this opening, Zamora is cast into the role of a “thief” who has “stolen and claimed” to be his own the Taobo translator Duan’s dream (5). Or, it is perhaps more correct to say that Duan as a translator steals Zamora’s authority. Zamora admits that he has no control over Duan’s tongue: “Perhaps he said that we meant the Taobo no harm, or perhaps that we were shit- eating bastards from a faraway kingdom, not to be trusted. . .how would we ever know?” (66-67). In the eyes of Amado Cabrera, the anthropologist invited by Zamora to study the Taobo, Duan is “quite imaginative at spinning tales” (102). From time to time he becomes “poetic and eloquent” in his translation and Cabrera doubts his reliability as a translator (101). Like Dupin and Minister D in Poe’s story, Duan is a kind of poet. Through translation he can “purloin” words and hence mediate the power relationship between white discoverers/invaders and the Taobo. 7 As the daughter of Zamora’s cook, the female protagonist Rizalina Cayabyab is also portrayed as a thief who keeps sneaking into Zamora’s study to steal books and steals hair ribbons from Zamora’s daughter Dulce. Curiously enough, her mother once scolds her by pointing out that “no one steals” in their family: “Your father may have been many things, but he was not a thief” (77). It is questionable, however, whether “not stealing” is a virtue worth preserving. Rizalina’s father, for example, though handsome enough to be a movie star, remains a drunkard and dies in a ship- wreck, his body eaten by sharks. Moreover, the women of Rizalina’s family, despite their honesty and hard work, have for generations not risen above their position as servants of rich families. Rizalina’s mother laments: 58 Mosaic 45/3 (September 2012) My nanay’s naynay, my Lola Isay, worked as a servant all her life. She keeled over dead while washing her master’s dirty underwear. And my great-grandmother was a yaya who cared for rich people’s children. And so on and so on. Washerwomen, yayas, cooks, house- cleaners, gardeners who toiled in Manila or Cebu [. . .] Just like my mother, they sent home every peso and centavo they earned for the education and betterment of. . . . Ha. You see how far that got any of us. (15) Being the only thief in her family, Rizalina is also the first female to escape from what seems to be the perpetual destiny of the women in her family. In 1973, at the age of twelve, she runs away from Zamora’s house with two thousand pesos, “half of which she had stolen from her mother” and the “the other half from Zamora” (118). “Stealing” here is a strategy of survival and self-investment. Since its beginning, Rizalina’s story has been dominated by the question of what she would become in the future. A girl born with a “strange intelligence” when it comes to reading and writing, besides being the only survivor of a devastating ship- wreck that takes the life of her father and two brothers, Rizalina is expected by her mother to “become a something” (14). It is difficult, however, to know what this something might be. Her mother knows there will be a change in her family’s fortune or destiny, yet she cannot think beyond her immediate experience or frame of refer- ence: “‘Your future is’—my mother paused, thinking hard—‘ filled with hope. You could become a nurse, Lina. Or a bank teller. There’s a bank in the next town, di ba ? Or maybe a teacher like that woman you admire so much. . .what’s her name? Miss Angway’” (14, emph. Hagedorn’s). Compared with her mother, Rizalina has a wider perspective on the world, a wilder imagination. As a child, she reads Pigafetta’s The First Voyage Around the World and has developed a kind of worldview: “I know the capital of Brazil, the capital of France, the capital of Japan, and the capital of California!” (41). Her greatest desire on her eleventh birthday is to write her “life story” with the Bic pen and pink notebook she purchases with the money saved from her first month’s salary at Zamora’s, the notebook’s cover featuring the “sweet, long-suffering face” of the well-known Filipina actress, singer, and producer Nora Aunor (73). Rizalina is also a lover of Tagalog movies at a time when Hollywood productions dominate the local cinema market. One episode of the novel indicates how people have grown tired of seeing the same old Tagalog movie screened from time to time at Rizalina’s school. Eventually Rizalina becomes the only audience member: “Hardly anyone ever bothered going inside to watch anymore, except for Rizalina” (80). Significantly, Rizalina’s favourite movie is Hsiu-chuan Lee 59 The Enchanted Forest, which stars another Filipina actress, Nida Blanca, as a “flying superheroine” that comes to rescue the disempowered (79). Indeed, Rizalina’s life shows a point of convergence of several important opposi- tions that define the post-independent Philippine society: the imperial legacy and its correlative discontents of ordinary people, the global-cultural infiltrations and the col- lective local experience of survival, the constraining everyday reality and the temporary escape through cinematic fantasies. It is not coincidental for Hagedorn to name Rizalina after the Philippine “national hero, poet and novelist” José Rizal (14). Although Rizalina (i.e., “little Rizal”) falls short of becoming a national hero, poet, or novelist, through a series of self-dislocation she drives the novel’s plot forward and compels the formation of a Philippine community that is continually evolving, self-differentiating, and dis- persing. In the second part of Dream Jungle, Rizalina re-emerges, in 1977, as an entic- ing stripper named Jinx in a bar called Love Connection. There she encounters the American movie star Vincent Moody, reclaims her identity as Rizalina, and joins the local labour force for the production of Napalm Sunset before relocating to Santa Monica, California. The novel does not provide any clear ending point or a teleological summing-up to Rizalina’s life story. Instead, it leaves her story within a whirlwind of ongoing incidents and characters, bringing the reader to comprehend the significance of Rizalina in terms not of who she is or what she has become, but of the more or less chaotic social flows, interpersonal connections, and power shifts that sprawl around her. In addition to Rizalina, the other female protagonist, Paz Marlowe, also experi- ences her life as a series of thefts and flights. She first steals away from the Philippines to Los Angeles and then from a dissatisfied marriage to journalism, eventually turn- ing into a migrant who “wander[s] the planet,” like “some cosmic detective without grounding or direction” (285). Like Hagedorn, Paz is an expatriate Filipina and a migrant between the United States and the Philippines. Also like Hagedorn, Paz is equipped with the power of language. Her surname, Marlowe, suggests that she may be, like Conrad’s Marlow in Heart of Darkness, the ultimate witness of the novel. Curiously, her first name, Paz (“peace” in Spanish), carries an anti-war implication that reminds one of the Tasaday as a “peace symbol.” Yet, while the Tasaday (or “Taobo” in the novel) were disempowered by their illiteracy and remained trapped in the Mindanao rain forest, their anti-war image imposed from the outside, Paz engages with imperialism, colonialism, and nationalism with her language power and global mobility. She flies from the United States to the Philippines to work on journalistic stories about Zamora and Pierce, in a way bearing witness to the Philippines by turn- ing her personal “sobs” into “words” (150). 8 60 Mosaic 45/3 (September 2012) Featuring recurrent motifs of stealing/flight, Dream Jungle as a whole could be interpreted as a literary attempt to “purloin” the imperial legacy and transpose it into the origin of Philippine community-making. Entitled “Discovery and Conquest,” the first part of the novel recasts the Spanish discovery and conquest of the Philippines as not simply ushering in Western colonial power, but also initiating the vicissitudes of Philippine history. Similarly, Zamora’s “discovery and conquest” of the Philippines does not merely mark his exploitation and appropriation of the Taobo and the locals. His experiences also set the stage, however incidentally, for movements, communica- tions, connections, and conflicts. Indeed, Zamora in Dream Jungle is not as much an all-powerful neo-colonialist as a belated imperialist, whose father “once owned and controlled the profitable silver and copper mines” in the Philippines (7). Being Mestizo, with “Basque, Negrense, a dash of North American Irish” (122) from his mother, moreover, he is racially inferior to his “Teutonic goddess” wife (43). The chapter “Her Last Night” delivers a vivid image of Zamora’s crumbling empire after his wife leaves him: “Everything coated with dust. The room a mess. The whole fucking house a mess, since the wife and chil- dren had left” (115). This disempowerment, however, draws Zamora closer to his Filipino servants. Zamora identifies his situation with that of Rizalina’s mother, who is sad and lonely in the wake of her daughter’s departure. And as if in response to Zamora’s feeling, Rizalina in “True Romance: 1973” expresses the household staff’s sense of connection to Zamora: “We were his family now: Mama and me. Sonny. Peping the gardener, Benny the driver. Skinny and Fatso, the guards. Sputnik, Gloria. And Celia, who crept off to the master’s bedroom when she thought the rest of us were all asleep” (111). Zamora’s relationship with his servants is not fixed or rigid; nor is his relation- ship with the Taobo. The chapter “Zamora: 1971” details Zamora’s ambivalent posi- tion as a neo-colonial explorer: Zamora “stood in the shadow of the spectacular cordilleras surrounding Lake Ramayyah. Dense, rugged, green with trees, chains of dark mountains loomed in the clouds. That day he was a conquistador without an army, a rich man without his usual posse of bodyguards, photographers, doctors, PR flacks, cooks, and servants. That day his only friend was Duan, a man he did not trust” (6). Stripped of his imperialist ostentation and extravagance, Zamora is an individual, following the guidance of his “only friend” Duan. The power relation between the imperial and the local is reversed: it is not the Philippines that are under the shadows of empire but Zamora, who is captured by the shadows of Mount Taobo—his body dislocated, incorporated by the Philippine landscape. Intriguingly, Zamora does not feel threatened; what he feels instead is “oddly liberating” (6). In another passage Hsiu-chuan Lee 61 Zamora is described as having collapsed “on the muddy jungle floor and flung out his arms in joyful surrender. All that green ” (8, emph. Hagedorn’s). He is so drawn to the Mindanao rain forest that he would rather die with the local people there: “I smelled the red earth of the mountain’s side, felt it scraping against my face. I could die here, alone among these people” (123). In addition to Zamora, Pierce—the fictional incarnation of Coppola—and his Hollywood film crew are also “dislocated” in the Philippines. Like the real-life Coppola, Pierce initially intends to take the country only as a convenient backdrop, an available and affordable “jungle” needed for the making of his film. Yet, as with Coppola and his team, Pierce’s filming project is gradually moored, trapped in—literally “prolonged” by—the place. 9 The weather is one key factor: “Tony God hadn’t calculated on the com- bination of paralyzing heat and wicked typhoon season in the Philippines” (186). The civil war taking place in Mindanao is another factor. Pierce plans to make a film on war but does not expect that they would be caught “in the middle of the real war” (276). At one point everyone but Moody, the only one on the crew to recognize that Sultan Ramayyah is “sacred ground, swarming with restless spirits” (185), is “down with either the flu or diarrhea or something” (211). Following the example of Eleanor Coppola, Peirce’s wife Janet produces a docu- mentary about Napalm Sunset from the Hollywood crew-centred perspective. Writing about the same shooting process, Hagedorn nonetheless turns it into a Philippine story. First, Dream Jungle dwells little on the subject of the film, or on Pierce’s adven- turism and heroism as a world-renowned director. It introduces instead a sarcastic tone when describing the filming project. Without knowing what the film is about, for example, local people are “awestruck by the lavish audiovisual feasts of destruction”: “Futuristic helicopters swooped down from the sky in a sinister ballet set to loud, pompous music,” and “movie stars were shot and stabbed, their wounds rendered in loving detail by sweating makeup artists with clenched teeth” (219). Moreover, unlike Coppola’s journey into the Philippines, which is described as a great director’s heroic adventure in Eleanor Coppola’s documentary, Pierce’s journey is cast as senseless drudgery: “It took blood, sweat, guts, tears, and my own goddamn money to move this fucking mountain and get all the way here” (174). Dream Jungle also foregrounds the reactions and participation of local people in the filming process. The making of a Hollywood hit generates such a sensation that “all the filmmakers in Manila are talking about it” (162). For the people of Sultan Ramayyah, the Hollywood movie has replaced Zamora’s discovery of the Taobo as the focus of their community. Although the older population “kept their distance” (219), some even considering the movie “a bad thing” that will “bring trouble” to their 62 Mosaic 45/3 (September 2012) place (260), children play “fallen, bloody corpses or extras in crowd scenes with humor and enthusiasm” (219). Aling Belén, the guardian, caretaker, and, to an extent, the surrogate mother of Rizalina, is right in pointing out that it is unrealistic for young people like Rizalina to think that the movie will change their “sorry lives” (260). Yet Dream Jungle envisions ambiguous consequences to making Napalm Sunset. The transnational romance between Rizalina and Moody is one example. More signifi- cantly, Napalm Sunset launches the Filipino local director-to-be Pepito Ponce de León into a new career: he teams up with some of Pierce’s film crew to produce the film Taghoy ng Pating (The Shark’s Lament ), starring Moody and Rainbow Reyes (a former Miss Philippines). Pepito claims that the film is “a combination” of two Hollywood hits, Jaws and Deep Blue Sea, done in “Filipino style” (314). From “purloining” Pierce’s film crew and Hollywood plots does Pepito develop his “Filipino style.” ransposing the processes and products of imperialism into the very constituting T fabric of a Philippine community, Hagedorn in Dream Jungle resists the remains of empire not through nationalism, but through a subtle deployment of the shifting relationships in a neo-colonial context of hybrid mixture and border-crossings. The novel concludes in the year 2000, three years after Zamora’s death. The setting is an apartment on New York’s Upper East Side. The narrator is the spirit of Zamora, who speaks from the urn containing the ashes of his body—a quintessential, if ironic, embodiment of the “remains of empire.” Projected as a dream vision of Zamora’s spirit, the scene stages the reunion of Zamora’s daughter Dulce, who has relocated from Manila to New York, and her mother Ilse, who has lived in Germany since run- ning away from Zamora in the seventies. Happy in their reunion, as Zamora’s spirit indicates, these two women totally forget the existence of the urn: “The girls are hav- ing fun. And not once does my name come up” (325)—there is “no mention of my glamorous photo and the lengthy obituary published in newspapers around the world” (324). Intriguingly, the remains of an imperialist father have been forgotten. They are “purloined” and ignored by his former wife and daughter. By contrast, the memory of Manila strikes vividly in a city far away from the Philippines. In Dulce’s New York apartment are paintings that used to hang in their Manila house, which give rise to “a flood of memories” in Ilse’s mind (323). Dulce has also stored “cases” of Flor de Manila in her pantry and has a half-full bottle sitting in front of her (325). She asks casually: “Want some churros, Mama? There’s a new Spanish bakery on the Upper East Side. Not exactly like Manila, but. . . .” Dulce stops, realizing that she should not men- tion Manila, a place that could evoke untoward memories for her mother. Yet Ilse Hsiu-chuan Lee 63 responds: “I never expect anything to be exactly like Manila, Schatzi [. . .] How I’ve missed you.” Stealing Zamora’s narrating voice, Hagedorn ultimately enacts in her novel the indispensible position of Manila, the “capital of desire and longing, that loaded word” (323), and seeks in the memory of it a link between the German mother and her Spanish-Filipina-American daughter. The age-old Philippine story—its imperial memories and subaltern dreams included—has been “prolonged” into another place, time, and international mix. NOTES 1/ “The Remains of Empire” refers to a panel organized by Guy Beauregard and Chih-ming Wang for the 2009 Association for Asian American Studies Annual Meeting held in Honolulu, Hawaii, at which an ear- lier version of this paper was presented. I am also indebted to the input of Frank Stevenson, Christopher Lee, Rob Wilson, and Shu-ching Chen. 2/ Three major scholarly meetings were held on the issue, in addition to other anthropological and politi- cal disputes. See Thomas N. Headland, The Tasaday Controversy: Assessing the Evidence (Washington, DC: American Anthropological Association, 1992. Print). 3/ There are four major iconic images of the Tasaday: an “evolutionary symbol” of cultural primitivism; an “ecological symbol” untainted by civilization; a “political symbol” of Marcos’s project of national preserva- tion; and a “peace symbol” antithetical to the image of the Vietcong. See Leslie E. Sponsel, “Our Fascination with the Tasaday: Anthropological Images and Images of Anthropology” ( The Tasaday Controversy: Assessing the Evidence. Ed. Thomas N. Headland. Washington, DC: American Anthropological Association, 1992. 200-12. Print). 4/ Fink preserves Lacan’s phrases mettre de côté and mettre à gauche in his translation and adds English explanations within parentheses and square brackets. 5/ Dupin becomes the only person able to decipher Minister D’s ploy because Dupin is also a poet: he admits that he himself has been “guilty of certain doggerel” (435). 6/ Lacan uses the word support in his original French text; Fink adds it into his English translation within square brackets. 7/ Translation also posed an important problem for scientists studying the Tasaday. See Robert B. Fox, “Peoples of the Philippines: The Tasaday” (1974. A Tasaday Folio. Ed. Jerome B. Bailen. Quezon City, PH: Philippine Social Science Center, 1986. 65-67. Print). 8/ Paz’s experience of interviewing Zamora is adapted from Hagedorn’s meeting with Elizalde in 1974. See Aguilar-San Juan, “Who’s Discovering Whom?” ( Women’s Review of Books 21.6 [2004]: 5. Print). 9/ Coppola planned for a four-month shoot in the Philippines. Typhoon Ruby destroyed the set and film- ing was discontinued. Apocalypse Now was eventually shot over a fifteen-month period, from February 1976 to May 1977. See James Clarke, Coppola (London: Virgin, 2003. 96-99. Print). WORKS CITED Aguilar-San Juan, Karin. “A Conversation with Jessica Hagedorn.” Women’s Review of Books 21.6 (2004): 6. Print. Berreman, Gerald D. “The Tasaday: Stone Age Survivors or Space Age Fakes?” The Tasaday Controversy: Assessing the Evidence. Ed. Thomas N. Headland. Washington, DC: American Anthropological Association, 1992. 21-39. Print. Coppola, Eleanor, dir. Hearts of Darkness: A Filmmaker’s Apocalypse. ZM Productions, 1991. Film. 64 Mosaic 45/3 (September 2012) Dumont, Jean-Paul. “The Tasaday, Which and Whose? Toward the Political Economy of an Ethnographic Sign.” Cultural Anthropology 3 (1988): 261-75. Print. Fink, Bruce, trans. “Notes to ‘The Instance of the Letter.’” Écrits: A Selection. By Jacques Lacan. New York: Norton, 2002. 334-38. Print. 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