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锄铭纪
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1 Reviews Tao Yuanming and Manuscript Culture: The Record of a Dusty Table. By Xiaofei Tian. Seattle: University of Washington Press, Pp. x 319. ( ) ( ) 1 1 ( ) [1123] Dusty Table -399-

Seattle: University of Washington Press, 2005. Pp.

2 -400-

3 Reviews ( ) 4 ( )

4 44 thief the man of strength Failure, Nationalism, and Literature: The Making of Modern Chinese Identity, By Jing Yuen Tsu. Stanford: Stanford University Press, Pp. xii 329. (not...but.../ratherthan.../insteadof...) (Theodor W. Adorno, ) -402-

By Jing Yuen Tsu. Stanford: Stanford University Press, 2005. Pp.

5 Reviews (Adornian) (Fanonian) (Frantz Fanon, ) (Lacanian) (Jacques Lacan, ) 26 ( ) ( ) ( ) ( ) ( ) ( ) ( ) 2 Frantz Fanon, Les damnés de la terre (Paris: Editions La découverte, 1961)

(1852-1928) (1899-1967) (1888-1970) (1892-1978) (1896-1945) 2 Frantz

6 ( ) Q ( ) -404-

7 Reviews ( ) Q (Sigmund Freud, ) ( ) ( ) ( ) 200 ( ) -405-

8 37 + Petrus LIU ( ) Assistant Professor, Comparative Literature, Cornell University Wuxia xiaoshuo is a much mystified concept, for which we do not yet have an uncontroversial English translation. Martial arts fiction, Chinese knighterrant fiction, Chinese gallant fiction, and tales of swords and chivalry have all been proposed. The relation of this phenomenally popular but understudied genre to the history of Taiwan, itself another mystified concept, is the subject of Lin Pao-chun and Ye Hongsheng s ambitious Taiwan wuxia xiaoshuo fazhanshi (History of Taiwan Martial Arts Fiction). In this study, Lin and Ye set out to bridge a yawning gap in our understanding of twentieth-century literary culture in Chinese by offering a historicist perspective on the origins, reception, and transformation of martial arts fiction in Taiwan. The authors are enviably meticulous in their attention to detail, and the book is brimming with archival information they have reconstructed from newspapers on microfilm and personal copies of out-of-print books. An impatient critic expecting an argumentative-style literary analysis might be thrown off by the overwhelming presence of tables and appendices. Clearly, Lin and Ye places much emphasis on the cataloguing of authors, titles, dates, and other publication data, which give the book the look of an encyclopedia or desk reference book rather than an interpretive history. However, the insights of this learned book go well beyond fact-finding and historical philology. The colossal research undertaken here not only serves as a great aid to scholars interested in the genre, but also produces some stunningly radical re-interpretations of the genre that have far-reaching implications for our understanding of literature as a historical institution embedded in discursive and economic contexts. This exciting new study is the product of five years of collaborative labor by two highly respected authorities on martial arts fiction. Lin Pao-chun is the founder of Tamkang University s Center for the Study of Martial Arts Fiction and author of numerous books including Jiegou Jin Yong (Deconstructing Jin Yong) 5 and Aoshi guicai yi Gu Long (The Peerless Gu Long), 6 an edited volume on Taiwan s most illustrious martial arts novelist. Ye Hongsheng is a seasoned 5 Lin Baochun, Jiegou Jin Yong (Taipei: Yuanliu chuban shiye gongsi, 2000). 6 Lin Baochun, Aoshi guicai yi Gu Long (Taipei: Lianjing chuban shiye gongsi, 2006)

The relation of this phenomenally popular but understudied genre to the history of Taiwan, itself another mystified concept, is the subject of Lin Pao-chun and Ye Hongsheng s ambitious Taiwan wuxia

9 Reviews critic of martial arts fiction, whose books and essays on the genre since the 1970s have become a standard reading list for researchers on popular culture. He has also edited and annotated the authoritative Lianjing series of martial arts fiction. 7 The present collaborative project grew out of the two critics shared concern about the dominance of Jin Yong studies (Jin Yong yanjiu ) in the field and its attendant myths. Indeed, it has become all too common to conflate the name of Jin Yong (Zha Liangyong, ) with martial arts fiction as such, and lay readers and professional critics alike often think of martial arts fiction as a literary enterprise that originated in Hong Kong. This common perception not only discounts the intellectual debts postwar Taiwan and Hong Kong authors owe to Republican or Old School (jiupai ) authors (including the now well-known Wang Dulu, ), but also misleadingly collapses and homogenizes the complex history of the cultural construction of martial arts fiction and criticism into a synecdoche, Jin Yong. In actuality, each decade of the postwar period was marked by a different field of literary production and a different set of players, and Jin Yong s arrival was neither inaugural nor representative of the genre. As Lin and Ye demonstrate through carefully assembled historical evidence, many of the works of Taiwan authors predated those of Jin Yong and Liang Yusheng (Chen Wentong, ), and Jin Yong s status as the godfather of martial arts fiction was actually retroactively constructed by Jin Yong criticism in the 1980s, before which his reputation was to a great extent eclipsed by that of Gu Long (Xiong Yiaohua, ) and, to an even greater extent, by those of Old School writers. As Lin and Ye explain, the invention of the inventor, the myth that Jin Yong somehow created martial arts fiction out of thin air, was itself the result of a convergence of business and political interests that can only be explained with attention to cross-strait politics. To capture a more nuanced sense of historical change, this study divides the historical development of martial arts fiction in Taiwan into four distinct eras, separated by landmark events: the embryonic stage ( ), the golden age ( ), the autumn ( ), and the eventual decline of Taiwan martial arts fiction ( ). The year 1951 saw the publication of the first martial arts story in Taiwan, Lang Honghuan s (b. 1897) Guse aixian. It was also the year when the KMT government instituted the notorious censorship system under martial law (Jieyan shiqi chubanwu guanzhi banfa ), on the basis of which the authorities eventually banned most martial arts stories in 1959 (a complete list of the blacklisted titles is found on pages ). The roller coaster ride Lin and Ye take their readers on is the story of martial arts fiction s (re-)birth in Taiwan and its struggles against political censorship and social stigma. Focusing on the works of the three musketeers of Taiwan martial arts fiction Wolongsheng (Niu Heting, ), Sima Ling (Wu Siming, ), 7 Lianjing chuban shiye gongsi, ed., Jindai Zhonggou wuxia xiaoshuo mingzhu daxi, 25 vols. (Taipei: Lianjing chuban shiye gongsi, 1984)

7 The present collaborative project grew out of the two critics shared concern about the dominance of Jin Yong studies (Jin Yong yanjiu ) in the field and its attendant myths.

10 and Zhuge Qingyun (Zhang Jianxin, ), Lin and Ye s narrative also discovers many surprising connections between postwar Taiwan authors and the towering figures of Republican martial arts fiction such as Wang Dulu and Huanzhulouzhu (Li Shoumin, ) in their thematic concerns and narrative styles. Taiwan authors replication of Wang s melancholic (beiqing ) characters and the continuation of the forceful idiom of the fantastic (shenguai ) in Huanzhulouzhu both testify to this development. As these elements are significantly absent in Jin Yong, this reconstructed literary lineage again refutes the popular opinion that Taiwan martial arts fiction is derivative of Jin Yong. The 1960s marked the beginning of Taiwan s economic miracle and an efflorescence of literary production. Lin and Ye estimate that, during this second stage of Taiwan martial arts fiction s development, there were over three hundred different authors writing wuxia stories and ten publishing houses dedicated to the genre. Schematically, these stories fall into four major categories: the technique-focused (chaojiji xiaqing pai ), the fantastic (qihuan xianxia pai ), the innovative (xinpai ), and the demon theme-focused (guipai ). Each has a distinct progenitor in Old School martial arts fiction (the demon-theme, for example, is directly influenced by Huanzhulouzhu s Shushan jianxia zhuan ). By the end of the decade, however, martial arts fiction met new challenges and went into a period of steady decline. Lin and Ye attribute the changing fortunes of martial arts fiction to several factors, the most important being the advent of martial arts film and TV programs in the early 1970s. Instantly accessible and easily more exciting than the written originals, visual renditions of martial arts adventures took over the mass market and the creative energies of the authors after the first marital arts TV drama series was aired in 1971 in Taiwan. Within three years, the three TV channels (there were only three TV stations in Taiwan at the time) tried to meet the demand of an insatiable audience by creating thirty different martial arts TV series. Martial arts television was certainly riding on the success of martial arts movies, which had already begun to flourish in the 1960s through the works of legendary directors King Hu (Hu Jinquan, ) and Chang Cheh (Zhang Yiyang, ). Many of the movies were adaptations of Old School martial arts stories, but all the major works of Wolongsheng, Gu Long, Sima Ling and Zhuge Qingyun have graced the silver screen. The explosive success of Bruce Lee s Fist of Fury in 1972 brought about a sea change in martial arts cinema, turning it further towards action-based kung fu and away from the narrative tradition of wuxia and shenguai. Interestingly, however, the power vacuum created by the decline of martial arts fiction in quantity actually helped solidify Gu Long s reputation as the master stylist of martial arts fiction. The immense popularity of film turned out to be a blessing for his career. The director Chor Yuen (Zhang Baojian, ) alone made fifteen movies based on his novels. The period from the 1980s to the present is marked by a conspicuous absence of new authors and works in the genre. Gu Long died in 1985, and Jin Yong announced -408-

Taiwan authors replication of Wang s melancholic (beiqing ) characters and the continuation of the forceful idiom of the fantastic (shenguai ) in Huanzhulouzhu both testify to this development.

11 Reviews he would never write another martial arts novel after his 1972 Luding ji (The Deer and the Cauldron). The only luminary that emerged in this period was the controversial Wen Rui-an (1954- ), who is most noted for his experimentations with unconventional narrative forms rather than his fidelity to martial arts motifs. However, stagnancy is not stability, and this period re-defined the meanings of many works that were already in existence and enjoyed an underground circulation. The ban on Jin Yong s works in Taiwan was officially lifted in 1979, which explains why the 1980s were a turning point in the history of the genre as far as Taiwan was concerned. The lifting of martial law itself in 1987 was another watershed event in Taiwan, but one that proved to have a tremendous impact on mainland China as well. After 1987, martial arts novels from Taiwan began to be systematically but more importantly, legally reprinted in mainland China. The 1980s also saw the emergence of serious academic studies on martial arts fiction. Most writings on the genre remain plagued by a longstanding cultural bias, inherited from leftist writers in the 1930s, which is the idea that martial arts fiction is popular fiction instead of serious literature, and that martial arts fiction promotes violence and may even lead impressionable young minds astray. Nevertheless, criticism in the 1980s decisively shifted away from moralizing judgments towards concrete historical research and analysis, of which the present book is an example. The story of the rise and fall of martial arts fiction in Taiwan through these four periods highlights several characteristics that set it apart from Hong Kong and early Republican traditions as well as from other types of literature in Chinese. One key difference Lin and Ye notice is Taiwan authors de-historicizing tendency, in contrast to Jin Yong s fictional historiography. Unlike Jin Yong, whose works show a discernible Western influence despite their preoccupation with the theme of Chinese history, Taiwan martial arts fiction appears more impervious to non- Chinese narrative models. Martial arts fiction is also distinguished by its length; a typical martial arts novel is at least 40,000 words (p. 152). The stories Lin and Ye tell about the pervasiveness of plagiarism, ghost-writing, imitations, and other types of borrowings in the tradition will be shocking to critics who uphold contemporary notions of intellectual property; in the early years, it was a common practice for new writers to publish their stories under the name of a more marketable author (such as Gu Long) and test the waters, with the tacit consent of the publishing house and the other author. These patterns of cultural practice hardened the hostility of critics who dismissed martial arts fiction as thoughtless mass literature, but, in my view, these patterns of borrowings in Taiwan martial arts fiction imply a type of intertextuality that will force us to revise our normative sense of cultural transmission and creation. Lin and Ye s work is not just a timely intervention in the field of martial arts fiction criticism, but in many ways an important cultural history of Taiwan. The radical potential of this study, like its object itself, is something we are only beginning to understand

martial arts motifs. However, stagnancy is not stability, and this period re-defined the meanings of many works that were already in existence and enjoyed an underground circulation.

12 Colonialism in Question: Theory, Knowledge, History. By Frederick Cooper. Berkeley: University of California Press, Pp. xii (CHIANG Yung-chen), Professor, History Department, DePauw University Cooper Cooper Cooper (ironic gaze) 4 Cooper Cooper (story plucking) (leapfrogging legacies) (doing history backward) -410-

(CHIANG Yung-chen), Professor, History Department, DePauw University Cooper

13 Reviews (epochal fallacy) Cooper Cooper (identity) (globalization) (modernity) Cooper Cooper (representation) -411-

14 (Michel Foucault, ) (modern governmentality) Cooper Cooper Cooper (Senegal) Cooper -412-

15 Reviews Cooper Cooper (agency) (French Union) Cooper Cooper 6 Cooper Cooper 231 (ahistorical) (apolitical) 234 Cooper -413-

16 A Cloud across the Pacific: Essays on the Clash between Chinese and Western Political Theories Today. By Thomas A. Metzger. Hong Kong: Chinese University Press, Pp. xxviii 816. (Thomas A. Metzger) ( ) ( ) ( ) John Dunn F. A. Hayek ( ) John Rawls ( ) Richard Rorty ( ) (critical re exivity) -414-

17 Reviews (discourse) Leo Strauss ( ) -415-

18 -416-

19 Reviews (we-group) (the indisputables) Leo Strauss Alasdair MacIntyre John Dunn -417-

20 Leo Strauss Richard Rorty Hayek Rawls Richard Porty MacIntyre -418-

叶洪生 : 论还珠楼主李寿民的是非功过 2012 年第 4 期剑仙神话志怪冒险传奇种种题材内容的超长篇武侠巨构并未全部完成当故事进行到蜀山剑侠后传 ( 以下简称后传 ) 第五

叶洪生 : 论还珠楼主李寿民的是非功过 2012 年第 4 期剑仙神话志怪冒险传奇种种题材内容的超长篇武侠巨构并未全部完成当故事进行到蜀山剑侠后传 ( 以下简称后传 ) 第五第29卷第4期 2012年8月苏州教育学院学报 Journal of Suzhou College of Education Vol.29 No.4 Aug. 2012 论还珠楼主李寿民的是非功过试揭开蜀山剑侠传及蜀山系谱群龙烂尾之谜叶洪生历史月刊杂志社台湾台北 251 摘要近现代中国武侠小说之王还珠楼主巨著蜀山剑侠传内容宏富无所不包号称是武侠百科全书