1、Postcolonialism III: Identity, Nation and Narration Identity,國家、文化與認(rèn)同,1. Colonialism, Orientalism and Racism 2. (Post-)Colonial Identities and Strategies of Resistance,Starting Questions,What do you think about the current debates over the issue of the National Father, and the high schools history t

2、extbooks? e.g. Is our National Father 孫文，李登輝，or 原住民? e.g. Is it ok to increase the percentage of the recent 50 years of Taiwanese history to 2/1 of Taiwanese history and 1/6 of the whole history textbooks, to explain 228 in more details? What are at stakes in these two issues? The conflicting and fr

3、agmentary constructions of Taiwans national identity.,Outline,Identity and National Longing for Form Benedict Anderson Homi Bhabha National Identity and Immigrants Narration of Nation (1): Taiwans Changing Nationalisms Pan-African Nation State without Nation - Taiwan,National Longing for Form (2),Na

4、tion defined (textbook 197) Narrative Unity What is the defining element of a nation? Race? Culture? History? Language? Government? Geographical Boundaries? Or is there any? A Nation geographic boundaries porous, if not non-existent; Government losing its power, competing with the other global and r

5、egional organizations,National Longing for Form (2),Nation defined (textbook 197-98) Narrative Unity (2) Nation is 1. an “imagined community” 2. Limited, 3. Sovereign （Cf. Benedict Anderson Imagined Communities ） A Nation imagined and narrated everyday through its newspapers and other written discou

6、rses (now also with news reports and weather broadcasts) Into a unity, which actually exists “in a homogeneous empty time.” (e.g. In the meantime, the map projected.),National Longing for Form (3),2. Nation Constructed: Anderson: Nation as an imagined community: How? print capitalism popularity of b

7、ooks - newspapers calendrical, “homogeneous, empty time” - The use of map in weather broadcast.,National Longing for Form (4),2. Nation Constructed: Anderson: critiqued the unity is overstated. e.g. 1) denied by the hybridity of migrating people. 2) Denied by colonial histories; a colonized nation c

8、an not achieve its unity (having multiple history co-existing all the time). 3) Homi Bhabhas theory of nation narration - through both history and national signs.,National Longing for Form (3),3. Ways of Construction: H. Bhabha: pedagogical and performative ways of narrating a nation. (textbook 106)

9、; the former constructs a continuous history, and the latter uses disparate signs. e.g. The pedagogical: 歷史（包括國家紀(jì)念日）、小說、報(bào)紙、國家文化（包括歷史古跡） The performative signs of nation: 國旗、國歌或其它歌曲、國花、地圖、特定顏色、肖像、特定物品或人物（黃絲帶、Uncle Sam、國父、蔣公、郵票）、儀式（閱兵、升旗）,How can national identity be natural or unified?,National Longi

10、ng for Form(4),3. Ways of Construction (2): Elements of a nation: System Control: state apparatus 國家機(jī)器 (e.g. education, church), laws (關(guān)稅、選舉法、移民法、國家語言） 意識(shí)形態(tài)召喚 or Emotional influence: history, culture, people, nationalist ideologies (e.g. 民族主義、愛國情操) e.g. Methods of producing “the people”: family (家國)

11、, education(中國歷史), force（海防、海關(guān)）, analogy of religion （上帝的選民）, fictive ethnicity （中華民族）,National Identity -both a political necessity and a fiction. e.g. collective identity - U.S.s : many into one (melting pot); Canada: unity in disunity (mosaic). An immigrants national identity may be different fro

12、m his/her cultural identity. Exclusion or discrimination of the Other. Bhabha: 移民在國家邊緣的細(xì)縫中間。1) Hybridity vs. national unity; 2) 不斷協(xié)調(diào)衝突。,A nations Other,Source: OBarr pp. 167-68.,Self-Othering: “She brings to life . . serenity and peace . . .,What he likes about the U.S.s - Inventiveness of your peop

13、le, instant coffee and your telephone system,A nations Other on national landscape (2),Source: Mitchell pp. 260-61; online versions http:/www.autograph-abp.co.uk/gallery/pol.html .,“I thought I liked the Lake District, where I wandered lonely as a Black face in a sea of white.”,Taiwans Changing Sign

14、s of Nationalism,發(fā)現(xiàn)臺(tái)灣 vs. 回歸中國,Taiwans Changing Signs of Nation 閃亮的日子 2. 抗議歌手,Example 3: 羅大佑,3. 音樂工廠複製； 遊走兩岸三地e.g. 羅大佑的中國三部曲: 原鄉(xiāng) 、皇后大東道、首都 4. 拼貼認(rèn)同,羅大佑對(duì)批評(píng)的回應(yīng),根據(jù)羅大佑自己的說法一曲多用不僅不是投機(jī)取巧反而是朝新的音樂可能性開發(fā)的嘗試他的野心是用同一個(gè)曲調(diào)便能毫無滯疑地配上粵語國語臺(tái)語并且能在不同的時(shí)空背景下各自扣含當(dāng)?shù)靥赜械奈幕c時(shí)代內(nèi)涵唱出在地人的心聲。(source),大家免著驚 作詞李坤城,這個(gè)國家廟埕愈來愈赤懨 休閒抗議藝術(shù)相招來

15、佔(zhàn)領(lǐng) 黑輪醃腸豆花踏入大廟埕 親像八仙過海來各展名聲 From 原鄉(xiāng),皇后大道東 作詞：林夕作曲：羅大佑,知己一聲拜拜遠(yuǎn)去這都市 要靠偉大同志搞搞新意思 照買照賣樓花處處有單位 但是旺角可能要換換名字 這個(gè)正義朋友面善又友善 因此批準(zhǔn)馬匹一週跑兩天 百姓也自然要鬥快過終點(diǎn) 若做大國公民祇須身有錢,五十塊錢 作詞：羅大佑,處變不驚的先去撈點(diǎn)人民幣 要莊敬自強(qiáng)再去香港換點(diǎn)港幣 反攻與復(fù)國世界大同談何容易 不如想想辦法效忠我們新臺(tái)幣 五十塊錢是我的秘密武器 最後一關(guān)用來對(duì)付馬列主義 歌舞昇平的全國的軍民同胞 創(chuàng)造了另一個(gè)世界奇蹟 靠三民主義！ from 戀曲2000 1994/11/11,Examp

16、le 3: Bruce Sprinsteen,Criticize Vietname war, in “War” and “Born in the U.S.A.” dressed as a war veteran Born down in a dead mans town The first kick I took was when I hit the ground You end up like a dog thats been beat too much Til you spend half your life just covering up chorus: Born in the U.S

17、.A. Born in the U.S.A. Born in the U.S.A. Born in the U.S.A. I got in a little hometown jam And so they put a rifle in my hands Sent me off to Vietnam To go and kill the yellow man chorus Come back home to the refinery Hiring man says Son if it was up to me I go down to see the V.A. man He said Son

18、dont you understand chorus,Example 3: Bruce Sprinsteen,I had a buddy at Khe Sahn Fighting off the Viet Cong Theyre still there, hes all gone He had a little girl in Saigon I got a picture of him in her arms Down in the shadow of the penitentiary Out by the gas fires of the refinery Im ten years down

19、 the road Nowhere to run, aint got nowhere to go Im a long gone Daddy in the U.S.A. Born in the U.S.A. Im a cool rocking Daddy in the U.S.A. Born in the U.S.A.,Example 3: Bruce Sprinsteen,1984年在紐澤西州發(fā)表競選演說時(shí)，雷根引用史普林斯汀的歌來代表希望的訊息(“message of hope Barol 32)。於是，“Born in the U.S.A.”變成了愛國口號(hào)；史普林斯汀的形象也由音樂界被帶入政