【一般論文】 從「唱歌」到「唱自己的歌」：《很久沒有敬我了你》中現代性與原住民性的接合／陳俊斌（103 民105.6 頁1-49） 本文以卑南族當代音樂為例，探討原住民音樂現代性及原住民對此現代性的回應。以音樂電影舞台劇《很久沒有敬我了你》做為個案研究的對象，我試圖探討「唱歌」教育及音樂客體化與建制化對於當代原住民音樂的影響。「唱歌」（しょうか）這個詞指涉日本政府在十九世紀末從西方引進的音樂教育系統，它隨著日本殖民統治，成為台灣現代教育的一部份，這個殖民遺緒奠定西方音樂在台灣發展的基礎，也對當代原住民音樂的形塑產生重大影響。本文將簡述這個音樂電影舞台劇以及劇中使用的音樂，並從這部作品中使用的陸森寶作品連結到有關「唱歌」的討論。最後，我以陸森寶到陳建年等卑南族人的音樂所連結的南王部落音樂發展歷程為例，討論原住民音樂現代性與原住民性的相關議題。本研究借用「接合」模式，聚焦做為主要接合機制的「表演」之討論，藉此試圖提出有關文化意義的音樂學解讀，並進一步探討這樣的研究取徑與社會人文學科接合的可能。 關鍵詞： 原住民音樂現代性、卑南族、接合、混雜、客體化與建制化 On the Road is a musical play production of the Taipei National Concert Hall performed in 2010 in collaboration with Aboriginal musicians. With combinations of various distinct elements, this musical has hybrid features. Focusing on the performance of contemporary Aboriginal songs in this musical, I examine concepts of the musical modernity of Taiwanese Aborigines and the Aborigines’ responses to modernity. I argue that beneath the simple plot of the musical about how a Han-Taiwanese musician brought the Aboriginal musicians to perform at the Hall, there is another story being narrated through the performance of the songs. This hidden story is an Aboriginal musical story spanning the time from the period of Japanese colonial rule (1895-1945), when Westernized school songs (shoka) were introduced into Aboriginal society, to recent years when Aboriginal musicians have achieved recognition in Taiwan’s music industry. This story shows not only the objectification and institution-alization of Aboriginal music enabled by Western musical techniques, but also an articulation of aboriginality as a response to modernity. I will provide a description of the musical play, and then discuss works by the Puyuma musician Baliwakes used in it. Finally, I examine issues related to musical modernity and aboriginality, and rethink methodologies in studies about music and culture. I use an “articulation” framework in this study, and focus my discussion on the performance as the primary mechanism connecting various distinct elements. By so doing, I aim to provide a musicological reading of cultural meaning, and consider possibilities of articulating approaches of musicology and that of social sciences and humanities. Keywords: musical modernity of Taiwanese Aborigines, Puyuma, articulation, hybridity, objectification and institutionalization 孝的勞動：家庭內男性長期照顧者處境的敘說與探究／王行（103 民105.6 頁51-84） 本研究從「個體在群體內所敘說的生命故事中所再現的社會心理意義」為立基，以敘事研究的質性分析方法，探究當今社會家庭內男性照顧者的勞動心境，及其所凸顯的人文價值。文中將研究田野中所發生的人我互動，以及所敘說的故事，置於可與哲思文獻相應之對話中， 試圖爬梳長期投身於照顧家人的苦勞中隱而未顯的反思性意義。 關鍵詞： 男性家庭照顧者、勞動處境、敘說探究、孝道思想 This article is a narrative analysis of the life stories of men who are caring elderly family members full-time. The stories were told in the peer-group sessions held for a research project which aims at exploring the moods and thoughts of men in such hard-working situation as long-term caring labor. The article also describes significant events which happened in the group sessions, as well as carries out dialogues with philosophical thoughts, in order to highlight the implicit humanistic meanings of being a male caregiver in the traditional cultural context of patriarchal society. Keywords: male caregiver, labor situation, narrative inquiry, ideas of filiality 中日人民友好的悖論：以1980 年代中國的「日流」為焦點／任佑卿（103 民105.6 頁85-112） 本文以日本電影《望鄉》和《追捕》在中國的接受過程為中心，分析了在冷戰時期的亞洲，作為後冷戰契機的文化流動之所以可行的歷史脈絡及其影響。新中國通過標榜區別對待日本政府和日本人民的所謂人民外交政策，而於冷戰時代亦能持續推進中日兩國的民間交流。為紀念1978年《中日和平友好條約》的締結而在中國舉辦的日本電影周， 即是兩國人民睦鄰友好策略結出的果實之一。得益於人民外交，因殖民／帝國主義戰爭和冷戰而造成的敵對心被冷凍，中國觀眾幾乎沒有多大抗拒地接受了日本電影，其中的《望鄉》和《追捕》甚至成為象徵1980年代中國社會的文化標示而被狂熱地消費。可以說，因《望鄉》的色情性而發生的一系列事件和知識界對性描寫的爭議，是在通過主張對性的個人佔有權而與國家悄然對峙；而在日常生活中通過模仿廣為流行的《追捕》主人公來顛覆既有的社會主義性別規範，從而重構新的女性和男性範疇的行為，也與國家形成了潛在的張力。通過性和性別而迂迴表達的與國家的對峙，此後發展為對社會主義體制的批評。所以，在與冷戰時代相行相隨的意義上，這不僅產生出新的冷戰思維， 也與提出重新審視戰爭賠償等歷史責任問題的激烈的民族主義纏繞交織。此種超越國民國家而取得成效的民間睦鄰友好，在其成功的同時卻最終陷入否定自身邏輯的悖論。《望鄉》和《追捕》的接受過程不僅暴露了中國政府的人民外交政策自身內含的國家與人民之間的代表不／ 可能性問題，以及冷戰邏輯和公民國家論理之間的矛盾，還促使人們去思考在亞洲因兩者交叉而生的錯綜複雜的「後／冷戰」局面。 關鍵詞： 中日人民友好、冷戰、性／別、文化流動、《望鄉》、《追捕》 This essay examines China’s reception of Japanese films Sandakan No. 8 and Arrest in order to analyze the historical context which enabled Asia’s cultural communication during the Cold War era. The New China pursued a people’s diplomacy policy that separated the Japanese government from the Japanese people in order to promote relationships between the two countries. Japanese Movie Week, which was held to celebrate the Treaty of Peace and Friendship between Japan and the People's Republic of China signed in 1978, was an outcome made possible through the People’s Solidarity between the two countries. Despite Japan’s colonial and imperialist war and the animosity created by the Cold War, the Chinese audience accepted Japanese movies without any resistance because of the people’s diplomacy policy. Sandakan No. 8 and Arrest were fervently consumed as cultural icons that symbolized the Chinese society in the 1980s. However, the controversies over the profanity and sexual descriptions in Sandakan No. 8 led individuals to assert their own sexuality. The popular imitation of the main characters of Arrest in the daily lives of the Chinese overthrew the existing socialist gender norms and reconstructed a new femininity and masculinity that acted as a fight against the state. This fight was indirectly expressed through sexuality and gender but later developed into a criticique of the socialist regime, forming another Cold War logic that was different from that of the Cold War. It was also transformed into a fervent nationalism that returned to such issues as Japan’s historical responsibility and war reparations. The success of the People’s Solidarity seemed to have transcended nation-states but ultimately led people to negate its own logic. In this regard, the reception of Sandakan No. 8 and Arrest revealed the impossibility of the state in accurately representing the people and the contradiction between the state and the people under the Cold War logic. The essay also urges a contemplation of the complex structures of the Cold War and the post-Cold War that were created by their entangling forces in Asia. Keywords: Sino-Japanese people’s solidarity, Cold War, sexuality, cultural mobility, Sandakan No.8, Arrest 【問題與討論】 關於非洲國家社會主義道路的幾點斷想／蔣暉（103 民105.6 頁113-154） 本文從全球資本主義體系和國家關係的角度重新討論非洲國家社會主義發展史上的一些重大問題：政黨組成、階級鬥爭、經濟制度、文化價值和冷戰格局的影響，以求在反思二十世紀非洲的社會主義運動失敗的原因的同時，設想二十一世紀非洲可能有的社會主義形式。 關鍵詞： 非洲、社會主義、福山 This paper is an effort to initiate a rethinking of the history of African socialist movements by examining certain key issues central to the formation of African socialist states, such as the nature of political parties, class struggle, economic policies, cultural values and the Cold War impact. All arguments will proceed from the perspectives of the world capitalist system and the order of nation-states. While acknowledging the failure of African socialist movements on the state level, the paper still argues for their possible continuity on the social level in the 21th century. Keywords: Africa, Socialism, Fukuyama 【訪談與口述史】 保釣與海外左翼運動：林孝信訪談／林麗雲、陳瑞樺、蘇淑芬（103 民105.6 頁155-175） 【左異聲響】 為終章寫序：當代「白色恐怖」的歷史記述、詮釋與失語 編按／張立本（103 民105.6 頁177-185） 「白色恐怖受難者二代」如何直面白色恐怖／李中（103 民105.6 頁187-189） 挖掘、拼湊歷史過程中遺忘「歷史」的陷阱：一個「白色恐怖」口述史入門工作者的自我意義探求／陳柏謙（103 民105.6 頁191-199） 時代之輪的生命擠壓：從白色恐怖之庶民勞動者的生命經驗談起／廖家敏（103 民105.6 頁201-213） 兩岸和解能有真相？從「涉及情報的絕密檔案」與「事證明確不予補償」談起／張立本（103 民105.6 頁215-225） 跟著「國界」駐紮歷史：「白色恐怖」訪調內外的折疊政治／郭耀中（103 民105.6 頁227-236） 殉道狀態：「受難—正義」迴圈裡抑失的白色恐怖話語／吳哲良（103 民105.6 頁237-247）