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<title>安靜地，流動著</title>
      <link>http://polarbear.ycool.com/</link>
      <description />
      <pubDate>Mon, 17 Nov 2008 16:11:05 GMT</pubDate>
      <lastBuildDate>Mon, 17 Nov 2008 16:11:05 GMT</lastBuildDate>
      <image><link>http://creativecommons.org/licenses/by-nc-sa/2.0/</link><url>http://creativecommons.org/images/public/somerights20.gif</url><title>Some Rights Reserved</title></image>
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        <title>近日隨感</title>
        <link>http://feeds.feedburner.com/~r/pbear6150/~3/452012443/post.3003699.html</link>
        <description>&lt;font size="3"&gt;臺北這禮拜冷雨不斷，有人說，每下一次雨，會拂去一層暖意，雨絲飄飄中，不覺迎來寒冷的冰點。&lt;br /&gt;
&lt;br /&gt;
上禮拜的臺灣並不平靜，直到此刻，陳水扁被收押、蘇治芬等民進黨縣市長在獄中絕食，野草莓運動也在持續靜坐。陳雲林來台前後，從張銘清被打事件開始，全台調動大規模警力維安、過當執法，到群眾圍晶華、聚中山橋，政客的言詞煽動下，石塊鐵條汽油彈，血光齊飛。藍綠兩邊為「&lt;a href="http://fifid.com/search/%E6%9A%B4%E6%B0%91?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;暴民&lt;/a&gt;」與「&lt;a href="http://fifid.com/search/%E9%80%A0%E6%88%90%E6%9A%B4%E6%B0%91%E7%9A%84%E5%85%87%E6%89%8B?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;造成暴民的兇手&lt;/a&gt;」，爭論不休，在我眼裡卻是這二十年來本土化族群議題發酵後，必然的結果。馬英九上台，兩岸政策大轉彎所引起的不安，不論是壓根不接受或被排除在外的，都感受到兩岸議題被資本主義巨大車輪輾過的猛烈衝撞，而那股主權將被稀釋的焦慮感，在不斷被簡化和分貝升高的政治口號中，攀升到最高點，炸開。&lt;br /&gt;
&lt;br /&gt;
有人說，馬的兩岸經濟政策不夠具體，一味的開放對臺灣不好。在我看來，目前任何的開放政策都只是亡羊補牢，並不會帶來實質的經濟成長，只是減緩台灣過去八年所遺留的傷害罷了，更何況全球的金融風暴之下，若非大陸的經濟市場不若歐美般自由化，早已如骨牌效應，雖然全球化下，重大傷亡、無人能免。&lt;br /&gt;
&lt;br /&gt;
&lt;/font&gt;&lt;font size="3"&gt;一整個禮拜，看著新聞、推特上的高熱討論，我卻感到一陣真實的疲憊與抽離。所有的事件、情緒、仇恨、撕裂，像無止盡循環的黑洞，街頭運動被熱烈頌揚著，但諷刺的是，最終證明訴求正確的紅衫軍，我們這一群七年級世代對之卻最冷漠，而從來無人反省，相比於警察的過當執法，位高權重者傾國家機器之力貪污時，你們為何不憤怒？八年共犯結構執政下的政客們，你們憑什麼出來再高喊人權？而那些對紅衫軍冷眼以待、在2000、2004年熱切支持過陳水扁、沒有一絲懷疑的人，你又憑什麼說服我再次走上街頭？甘地說過，「貧窮是對人民最可怕的暴力」，可是我依舊看不到任何真切的止步、反省、希望。如今，犯罪的人只會一哭、二鬧、三上吊，拼命指責他人亦非清白，卻是狗咬狗一嘴毛，難堪、無恥。&lt;br /&gt;
&lt;br /&gt;
&lt;a title="Gandhi, 1982 by pbear6150, on Flickr" href="http://www.flickr.com/photos/pbear6150/2963202193/"&gt;&lt;img hspace="5" height="240" border="0" align="left" width="170" vspace="5" alt="Gandhi, 1982" src="http://farm4.static.flickr.com/3191/2963202193_3b842e4a9d_m.jpg" /&gt;&lt;/a&gt;&lt;font size="3"&gt; &lt;/font&gt;&lt;font size="3"&gt;重溫經典的傳記電影&lt;a target="_blank" href="http://www.imdb.com/title/tt0083987/"&gt;「甘地」&lt;/a&gt;，其中有一段，是甘地率領印度人到海邊曬鹽，作為經濟來源，這妨害了英帝國的殖民統治。於是很多警察到海邊抓人，由於甘地倡導非暴力運動，現場他們一邊有人帶頭堅定非暴力的意志，一邊婦女組成的救護隊就在旁邊。只見一排又一排的印度男子，老少皆有，一排上前被警棍毆打、倒下，另一排又遞補上去，那些穿著土製白棉衣沈默的人群，就這樣發揮了巨大的力量，在旁報導的美國記者先是不解、氣憤，最終也被徹底感動了。&lt;br /&gt;
&lt;br /&gt;
&lt;/font&gt;&lt;font size="3"&gt;達成任何事情的手段，有急有慢、有暴力有寬容，有些手段也許立刻見效，但卻不及那些忍辱負重、過程更艱辛、卻也達成更終極關懷的動作。甘地的能量感動了許多人，然而最後他依舊逃不過主張印度教與回教分離的激進份子，死在印度人手上&lt;font color="#333333"&gt;（而印度教與回教在英國殖民者主導下的人為分離，最終造成千萬人大遷徙，對彼此的恐懼、仇恨又造成數百萬人的死亡，甚至有許多父親害怕女兒被異教徒強暴，親手弒女的人倫慘劇無數）&lt;/font&gt;。愛的力量很偉大，但面對兇狠的仇恨是極其脆弱的阿&amp;hellip;&amp;hellip;。&lt;/font&gt;&lt;font size="3"&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;/font&gt;&lt;font size="3"&gt;前幾天才和一位老人談當年國共內戰的慘況，一家人裡有國民黨、有共產黨而相互廝殺的，所在多有，當年的意識形態之爭賠上百萬條年輕的性命，又造成多少人一輩子就這麼離開家鄉、四處飄零&lt;font color="#333333"&gt;（許多共黨的老官員老來也不願回鄉）&lt;/font&gt;。戰爭的恐懼，對他們而言並非虛幻陌生，所以即便雙方曾誓不兩立，但如今兩岸和平是他們最大的企盼&lt;font color="#333333"&gt;（而另一種情況，則是從小被教導堅定的反共教育，長大後卻趕上本土化，外省籍讓他們被排擠到最邊緣的位置，加上國民黨的無能，這些人苦悶的心情也成為社會裡另一股隱藏式炸彈）&lt;/font&gt;。&lt;br /&gt;
&lt;br /&gt;
我一直開放地認為，統獨議題只是政治選項，哪邊能提出好意見、對臺灣有實質益處，大家就有理由聆聽、抉擇，但如今演變成你死我活的二分、無法溝通亦無迴旋餘地的政治信仰，只是長期內耗阿。也想著同志平權運動和台獨，不知為何，後者總給我一種排外感。但一項運動的成功，應在於融合更多力量，而不是排除異己。或許是因為這不以解消主權為前提，而在確立主權，所以區分他、我的同時，「&lt;a href="http://fifid.com/search/%E6%88%91?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;我&lt;/a&gt;」也必須再凝固確立，過程也就少不了壓制。換句話說，政治正確永遠伴隨對政治不正確的扼殺。&lt;br /&gt;
&lt;/font&gt;&lt;font size="3"&gt;&lt;br /&gt;
另外，當大家亟呼人權的同時，卻從不考慮人權與國權相互衝突對撞時，前者會否被後者徹底地壓垮、粉碎呢？中共對台的飛彈，可以看做是一種威脅，也是決心。中共不像當年搖搖欲墜的國民黨，能以同樣的手段對付，而當層級與規格拉高的同時，臺灣準備好了嗎？我們究竟在尋求一條聰明的兩全之道，亦或只是放任政客將我們推上火線、做不花本金的籌碼呢？現代國家的建立，有可能繞過暴力與流血嗎？主權問題為何不能暫時擱置、維持現狀，一定要不斷碰撞、去試探雙方都無法承受的底線呢？&lt;br /&gt;
&lt;br /&gt;
所以野草莓運動如火如荼之際，謹記長輩給我的一句話：「&lt;a href="http://fifid.com/search/%E6%83%85%E6%84%9F%E8%A6%81%E7%86%B1%EF%BC%8C%E8%85%A6%E8%A2%8B%E8%A6%81%E5%86%B7%E3%80%82?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;情感要熱，腦袋要冷。&lt;/a&gt;」而一場運動能否說服自己與內心的直感，才是最重要的。我想，一開始帶頭的學者們就無法說服我，二來時機點也不對，在台灣政治高熱之時，我想他們的臨門一腳有打鐵趁熱之算&lt;font color="#333333"&gt;（當然，也就得承擔被媒體誤解、扭曲的風險。這是兩面刀）&lt;/font&gt;；此外，我覺得法律以這樣的方式來要求修改，會不會也造成示範效應，現在台灣幾乎無事不以街頭運動和民粹來解決，法律與秩序的要求也相對被忽略了&lt;font color="#333333"&gt;（「&lt;a href="http://fifid.com/search/%E5%85%AC%E6%B0%91%E4%B8%8D%E6%9C%8D%E5%BE%9E?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;公民不服從&lt;/a&gt;」也講究比例原則吧）&lt;/font&gt;。另外，修法以外的下台與道歉訴求，更是政治性議題。法律不會要求人的道德崇高性，充其量只是保護最低限度的秩序，縱使暴民有千萬個讓人同情的理由，可一旦失序、觸碰法律的界線，為整體社會秩序的權益來衡量，國家暴力也就無可避免。&lt;br /&gt;
&lt;br /&gt;
&lt;/font&gt;&lt;font size="3"&gt;無論如何，&lt;/font&gt;&lt;font size="3"&gt;我不覺得頻繁政治動盪是社會之福，過多內耗會消磨對正經事的專注；同樣，我也不贊同被資本主義鐵籠給圈住的人們，一點反應都沒有是好事。如同我從不否認對國民黨無能的厭惡，但也無法接受民進黨對族群議題的操弄&lt;font color="#333333"&gt;（依國外反歧視言論的標準，早被起訴了吧）&lt;/font&gt;。立場本是複雜變動、有議題針對性的。&lt;br /&gt;
&lt;br /&gt;
總之，以後不管是政治文或其他文章，會少寫。一來徹底自覺於能力之不足，年輕時應該多多充實；二來精彩、獨立的識見很少在網路上；三來大概就像轟轟烈烈的戀愛之後，人都有重返安寧的渴望，這幾年下來，內心的波動，真累了，我想是時候以疏離感來維持彼此善意的溫度、表面的和平了（苦笑）&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;a href="http://media.imeem.com/pl/kjKQZLJ9Bh/aus=false/" class="abp-objtab-03531756091991366 visible ontop" title="請按這裡用 Adblock Plus 封鎖此物件" style="left: 300px ! important; top: 0px ! important;"&gt;&lt;/a&gt;&lt;object height="340" width="300"&gt;
&lt;param name="movie" value="http://media.imeem.com/pl/kjKQZLJ9Bh/aus=false/" /&gt;
&lt;param name="wmode" value="transparent" /&gt;
&lt;param name="FlashVars" value="backColor=000000&amp;amp;primaryColor=999999&amp;amp;secondaryColor=4d4d4d&amp;amp;linkColor=666666" /&gt;&lt;embed height="340" width="300" tplayername="SWF" splayername="SWF" id="Player1226940911746" type="application/x-shockwave-flash" src="http://media.imeem.com/pl/kjKQZLJ9Bh/aus=false/" mediawrapchecked="true" pluginspage="http://www.macromedia.com/go/getflashplayer" wmode="transparent" flashvars="backColor=000000&amp;amp;primaryColor=999999&amp;amp;secondaryColor=4d4d4d&amp;amp;linkColor=666666"&gt;&lt;/embed&gt;&lt;/object&gt;&lt;font size="3"&gt;&lt;font size="3"&gt;&lt;br /&gt;
※Lucinda Williams, &lt;strong&gt;Plan to Marry&lt;/strong&gt;, in &amp;quot;&lt;a href="http://mimibon.im.tv/musicinfo/album/11022" target="_blank"&gt;Little Honey&lt;/a&gt;&amp;quot;, 2008. (Also &lt;a href="http://blog.xuite.net/pbear6150/music/20743349" target="_blank"&gt;here&lt;/a&gt;)&lt;br /&gt;
&lt;br /&gt;
When leaders can't be trusted&lt;br /&gt;
And hero's let us down&lt;br /&gt;
And innocence lies rusted&lt;br /&gt;
Frozen beneath the ground&lt;br /&gt;
&lt;br /&gt;
And the destitute isolated&lt;br /&gt;
We've all been forgotten&lt;br /&gt;
And the the fruit trees we planted&lt;br /&gt;
Are withered and rotten&lt;br /&gt;
&lt;br /&gt;
The abuse and magnificent&lt;br /&gt;
Suffer from infection&lt;br /&gt;
And the promises were given&lt;br /&gt;
But never with intention&lt;br /&gt;
&lt;br /&gt;
War becomes common place&lt;br /&gt;
Secrets overheard&lt;br /&gt;
And violence, big business&lt;br /&gt;
And love is just a word&lt;br /&gt;
&lt;br /&gt;
Why do we marry, why do we fall in love?&lt;br /&gt;
Keep on believing in love&lt;br /&gt;
Because love, love is my sward&lt;br /&gt;
Love is a weapon, love is a lesson&lt;br /&gt;
&lt;br /&gt;
And we, we are the conquerors&lt;br /&gt;
We are the soldiers, we are the lovers&lt;br /&gt;
That's why we fall in love&lt;br /&gt;
That's why we believe in love, that's why we marry&lt;/font&gt;&lt;font size="3"&gt;&lt;/font&gt;&lt;/font&gt;&lt;/font&gt;&lt;/font&gt;...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~f/pbear6150?a=K0RiN"&gt;&lt;img src="http://feeds.feedburner.com/~f/pbear6150?i=K0RiN" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~f/pbear6150?a=qJjON"&gt;&lt;img src="http://feeds.feedburner.com/~f/pbear6150?i=qJjON" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~f/pbear6150?a=eYdgN"&gt;&lt;img src="http://feeds.feedburner.com/~f/pbear6150?i=eYdgN" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
        <guid isPermaLink="false">http://polarbear.ycool.com/post.3003699.html</guid>
        <pubDate>Thu, 13 Nov 2008 18:11:20 GMT</pubDate>
<category>life</category>

        <category>taiwan</category>
      <feedburner:origLink>http://polarbear.ycool.com/post.3003699.html</feedburner:origLink></item>

      <item>
        <title>[日劇SP] 天狼星之路，2008</title>
        <link>http://feeds.feedburner.com/~r/pbear6150/~3/420739588/post.2981110.html</link>
        <description>&lt;a title="天狼星之路 by pbear6150, on Flickr" href="http://www.flickr.com/photos/pbear6150/2941329185/"&gt;&lt;img hspace="5" height="375" width="500" vspace="5" border="0" align="baseline" alt="天狼星之路" src="http://farm4.static.flickr.com/3021/2941329185_fe793e65ce.jpg" /&gt;&lt;/a&gt;&lt;font size="3"&gt;&lt;br /&gt;
※&lt;a target="_blank" href="http://www.wowow.co.jp/dramaw/sirius/top.html"&gt;官網&lt;/a&gt;。&lt;br /&gt;
&lt;br /&gt;
一開始對這部日劇 SP 有興趣，是因為裡面有兩位我很喜歡的女演員：&lt;a target="_blank" href="http://dorama.info/staff-93.html"&gt;大塚寧々&lt;/a&gt;和&lt;a target="_blank" href="http://dorama.info/staff-786.html"&gt;真矢みき&lt;/a&gt;，後者常演一些有趣的配角，譬如「&lt;a href="http://fifid.com/search/%E5%A4%A9%E6%89%8D%E4%BC%BD%E5%88%A9%E7%95%A5?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;天才伽利略&lt;/a&gt;」的女法醫或「&lt;a href="http://fifid.com/search/%E7%B5%95%E5%B0%8D%E9%81%94%E4%BB%A4?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;絕對達令&lt;/a&gt;」裡貼心的酒館老闆娘，本人有股特出的個性氣質，一查，果真以前是&lt;a target="_blank" href="http://zh.wikipedia.org/wiki/%E5%AF%B6%E5%A1%9A%E6%AD%8C%E5%8A%87%E5%9C%98"&gt;寶塚劇團&lt;/a&gt;的花組男役，這次總算演上女主角&amp;mdash;&amp;mdash;一個事業成功、家庭感情卻辛苦的廣告界女強人。&lt;br /&gt;
&lt;br /&gt;
改編自&lt;a target="_blank" href="http://www.books.com.tw/exep/prod/booksfile.php?item=0010381893"&gt;藤原伊織&lt;/a&gt;（1948-2007）的同名小說，雖名為推理小說，但重點卻不在推理，反著墨更多在藤原出身的廣告職場與下層勞工被裁員後的不平。就像&lt;a target="_blank" href="http://zh.wikipedia.org/wiki/%E5%B1%B1%E5%B4%8E%E8%B1%90%E5%AD%90"&gt;山崎豐子&lt;/a&gt;（1924&amp;mdash;）的《&lt;a href="http://fifid.com/search/%E7%99%BD%E8%89%B2%E5%B7%A8%E5%A1%94?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;白色巨塔&lt;/a&gt;》、《&lt;a href="http://fifid.com/search/%E8%8F%AF%E9%BA%97%E4%B8%80%E6%97%8F?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;華麗一族&lt;/a&gt;》一樣，老一輩的日本小說家都有某種深厚的社會關懷在背後，當然，比起山崎擅於結構複雜的人事鬥爭，藤原的手法並不相同。這部戲藉由男主角一段25年前的秘密，三個兒時玩伴重又糾葛在一起，而兒時的純真美好對比於成人社會的險惡，成為一段讓人沈湎也最有力量的過去。&lt;br /&gt;
&lt;br /&gt;
&lt;a target="_blank" href="http://blog.yam.com/masaaki"&gt;內野聖陽&lt;/a&gt;將瀟灑有魄力的男主角詮釋得很迷人、有穿透力，原來早稻田大學畢業後，他就進入二次戰前即成立、至今日本歷史最悠久的話劇團&amp;mdash;&amp;mdash;&lt;a target="_blank" href="http://www.bungakuza.com/index.html"&gt;文學座&lt;/a&gt;。（&lt;a target="_blank" href="http://www.hudong.com/wiki/%E6%96%87%E5%AD%A6%E5%BA%A7"&gt;中文簡介&lt;/a&gt;）這個劇團著重藝術性、文學性，由岸田國士、久保田万太郎、岩田豊雄創立，其中岸田與岩田偏重法國戲劇的研究，他們也最早開始了實驗劇場，內野也一直將主力放在舞台劇和音樂劇上。有趣的是，晚婚的內野的另一半&amp;mdash;&amp;mdash;一路真輝，過去也是寶塚雪組男役，兩人相識相戀於舞台劇演出中。&lt;br /&gt;
&lt;br /&gt;
飾演內野兒時玩伴的&lt;a target="_blank" href="http://dorama.info/staff-822.html"&gt;寺島進&lt;/a&gt;也是性格男星，所以整部戲充滿熟男熟女的戲劇張力，裡面的台詞也很棒。雖沒看過原著小說，但單就此戲來說拍得極好，&lt;/font&gt;&lt;font size="3"&gt;讓人想把小說找來看。&lt;/font&gt;&lt;font size="3"&gt;很喜歡某些深夜日劇或特別編，一直有關注社會題材的寫實路數，這樣的傳承真地很重要。&lt;br /&gt;
&lt;/font&gt;...&lt;div class="feedflare"&gt;
&lt;a href="http://feeds.feedburner.com/~f/pbear6150?a=k4f9M"&gt;&lt;img src="http://feeds.feedburner.com/~f/pbear6150?i=k4f9M" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~f/pbear6150?a=t5ckM"&gt;&lt;img src="http://feeds.feedburner.com/~f/pbear6150?i=t5ckM" border="0"&gt;&lt;/img&gt;&lt;/a&gt; &lt;a href="http://feeds.feedburner.com/~f/pbear6150?a=ANyMM"&gt;&lt;img src="http://feeds.feedburner.com/~f/pbear6150?i=ANyMM" border="0"&gt;&lt;/img&gt;&lt;/a&gt;
&lt;/div&gt;</description>
        <guid isPermaLink="false">http://polarbear.ycool.com/post.2981110.html</guid>
        <pubDate>Tue, 14 Oct 2008 17:10:58 GMT</pubDate>
<category>drama</category>

        <category>novel</category>

        <category>sp</category>

        <category>jp</category>
      <feedburner:origLink>http://polarbear.ycool.com/post.2981110.html</feedburner:origLink></item>

      <item>
        <title>[影。] 海角七號, 2008 (with 陳昇，晚安母親)</title>
        <link>http://feeds.feedburner.com/~r/pbear6150/~3/417923082/post.2979280.html</link>
        <description>&lt;font size="3"&gt;補上一首昇哥寫給臺灣的歌吧。&lt;/font&gt;
&lt;div&gt;&amp;nbsp;&lt;/div&gt;
&lt;p&gt;&lt;embed width="315" height="80" tplayername="SWF" splayername="SWF" id="Player1226199290274" type="application/x-shockwave-flash" src="http://www.ijigg.com/jiggPlayer.swf?Autoplay=0&amp;amp;songID=V2CGD7A0PB0" mediawrapchecked="true" pluginspage="http://www.macromedia.com/go/getflashplayer" wmode="transparent" scale="noscale"&gt;&lt;/embed&gt;&lt;br /&gt;
&lt;font size="3"&gt;※陳昇，晚安母親，收於「&lt;a href="http://fifid.com/search/%E6%80%9D%E5%BF%B5%E4%BA%BA%E4%B9%8B%E5%B1%8B?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;思念人之屋&lt;/a&gt;」，2000。(Also &lt;a target="_blank" href="http://blog.xuite.net/pbear6150/music/20037562"&gt;here&lt;/a&gt;)&lt;/font&gt;&lt;font size="3"&gt;&lt;strong&gt;&lt;br /&gt;
&lt;br /&gt;
晚安母親&lt;/strong&gt; 　　詞、曲：陳昇&lt;br /&gt;
&lt;br /&gt;
不要搖醒我 我想在你懷中 安靜的沉睡&lt;br /&gt;
我是你的孩子 我想你那樣做 也不是故意&lt;br /&gt;
秋天的月 看來那樣的圓&lt;br /&gt;
孩子們就都依偎在你的身邊&lt;/font&gt; &lt;font size="3"&gt;&lt;br /&gt;
&lt;br /&gt;
也許 我們無法感覺到你的疲憊&lt;br /&gt;
難道你已經不允許我再愛你&lt;br /&gt;
是否你有些話都說不出口&lt;br /&gt;
難道你已經不允許我再愛你&lt;br /&gt;
&lt;br /&gt;
每個人都跑來笑我說 你的母親長得真醜&lt;br /&gt;
因為這樣我在回家的路上 就跟別人的孩子打破了頭&lt;br /&gt;
雖然有時候 你顯得太冷漠&lt;br /&gt;
但 但我真的喜歡依偎在你懷裡&lt;br /&gt;
&lt;br /&gt;
我們是成長中的孩子&lt;br /&gt;
受了傷 就很難復原&lt;br /&gt;
因為你總是那樣沉默 從來都不言不語&lt;br /&gt;
我 我還以為你也喜歡 那樣宿命的邂逅&lt;br /&gt;
&lt;br /&gt;
還是你在南太平洋昏黃的夜色之中 受盡了凌辱&lt;br /&gt;
孩子們總是想要爭氣 偶而會迷失自己&lt;br /&gt;
也天真的以為 沒有發覺你已枯萎的奶水&lt;br /&gt;
而什麼樣的話　我都可以聽得進去&lt;br /&gt;
&lt;br /&gt;
母親 卻不能相信 你已不再愛我&lt;br /&gt;
並不因為外面的世界奇異 感到特別的恐懼&lt;br /&gt;
卻只是難過不能夠再安靜的 擁抱著你睡去&lt;br /&gt;
當然你也明瞭 我已承繼了你蠻子一樣的脾氣&lt;br /&gt;
會含著眼淚 倔強的睡去&lt;/font&gt;&lt;span style="font-weight: bold;"&gt;&lt;span style="font-size: 16px;"&gt;&lt;br /&gt;
&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;
&lt;font size="3"&gt;◆◆◆&lt;/font&gt; &lt;font size="3"&gt;&lt;br /&gt;
&lt;br /&gt;
算一些隨感吧。&lt;br /&gt;
&lt;br /&gt;
電影由日本教師的&lt;/font&gt;&lt;a target="_blank" href="http://blog.roodo.com/blue1989/archives/7074645.html"&gt;&lt;font size="3"&gt;七封情書&lt;/font&gt;&lt;/a&gt;&lt;font size="3"&gt;貫串。還記得開頭的一封信裡，提到戰敗國子民的悲哀，他向臺灣人友子訴苦，我心裡就想：那麼友子作為一個被殖民者的悲哀，你又瞭解嗎？如果要一個國民扛下一個國家的歷史責任，稍嫌沈重，但在實際上由魏導執筆的這七封信中，日本教師對自身與國家的榮譽，卻又連繫得緊密。記得有報導提過，魏導的台日劇情是為了顧及日本票房，然而，把依舊敏感的歷史問題拿來作商業題材，並不能把複雜性抹去，反而有過度簡單化的危險。因此，這樣的題材也少不了被討論、檢視的命運了。&lt;/font&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;font size="3"&gt;所以整部片若想的多一點，的確有臺灣一直想尋求日本認可的感覺&lt;font color="#808080"&gt;（關於日本的現代化光環，想起以前轉過的舊文，&lt;/font&gt;&lt;/font&gt;&lt;font color="#808080"&gt;&lt;a target="_blank" href="http://polarbear.ycool.com/post.2447402.html"&gt;&lt;font size="3"&gt;鄭鴻生的&lt;/font&gt;&lt;/a&gt;&lt;/font&gt;&lt;font size="3"&gt;&lt;font color="#808080"&gt;&lt;a target="_blank" href="http://polarbear.ycool.com/post.2447402.html"&gt;〈國民黨是如何失去「現代」光環的？──水龍頭的普世象徵〉&lt;/a&gt;）&lt;/font&gt;，一如陳宜中所說，但現實是日本作為一個國家，有對臺灣平等看待嗎？在他們心裡，臺灣人已脫去被殖民的色彩了嗎？我想只要日本未就歷史問題好好對亞洲各國道歉、釐清，一如&lt;a target="_blank" href="http://polarbear.ycool.com/post.2978227.html"&gt;陳映真對余光中的建議&lt;/a&gt;，那日本永遠無法掙脫某種歷史加諸的心理／文化上的困阨，也無法贏得亞洲各國真正的尊敬與接納。&lt;/font&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;font size="3"&gt;另外，許介麟的文章雖被大家目為「&lt;a href="http://fifid.com/search/%E5%A5%87%E6%96%87?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;奇文&lt;/a&gt;」，或許是他太過剛強的立場加上行文語氣，讓人不舒服，但他提到過去黃春明對日本人的指控，正涉及到臺灣主體性建立的問題。片中臺灣像日本的後院，上了年紀的人都樂之與友子講日文；然而我卻遇過長輩，因為中日之間的歷史傷痕，即便他會講一口漂亮的東京話，卻從來不說&amp;hellip;&amp;hellip;。&lt;/font&gt;&lt;br /&gt;
&lt;font size="3"&gt;&lt;br /&gt;
當然，商業片不能要求太多，只是它所呈現一切討好人的因素，仔細想想，都是臺灣，似乎也不完全是臺灣？它呈現了台灣在這一波本土化下的流行樣貌，卻不深刻，譬如搖滾樂，阿嘉的面貌就被簡單地形塑成一個失意樂手，有著典型的壞脾氣、叛逆，然而搖滾樂這個符號的意義卻完全未被探究、介紹；反而最搖滾的精神卻出現在鍵盤女孩安慰民雄，那體貼寬容的一吻。&lt;br /&gt;
&lt;br /&gt;
我想這也是臺灣最主要的問題：當遇到他者的時候，作為參照係數的我，究竟是什麼？特別臺灣作為一個海島，加之特殊的歷史背景，這個主體性的融合、建立、確信，又要怎麼達成？ 近日得諾貝爾文學獎的法國作家&lt;a target="_blank" href="http://tinyurl.com/45s3zb"&gt;勒克萊喬&lt;/a&gt;，出生地也有著複雜的殖民背景，作為一個白人，他深切反省造成錯誤歷史的西方文化，他自身更有著世界主義者的浪蕩氣息，但他依舊強調法語作為一個文化祖國認同的重要性。我想，我亦言盡於此了吧。&lt;br /&gt;
&amp;nbsp;&amp;nbsp;&amp;nbsp; &lt;br /&gt;
◆◆◆&lt;br /&gt;
&lt;br /&gt;
中國時報 2008.10.09　&lt;br /&gt;
&lt;a target="_blank" href="http://tech.chinatimes.com/2007Cti/2007Cti-News/Inc/2007cti-news-Tech-inc/Tech-Content/0,4703,171703+112008100900150,00.html"&gt;&lt;strong&gt;《海角七號》的台日苦戀&lt;/strong&gt;&lt;/a&gt;&lt;br /&gt;
◎陳宜中&lt;/font&gt;&lt;font size="3"&gt;（中研院人社中心副研究員、《&lt;a href="http://fifid.com/search/%E6%80%9D%E6%83%B3?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;思想&lt;/a&gt;》季刊編委）&lt;/font&gt;&lt;br /&gt;
&lt;font size="3"&gt;&lt;br /&gt;
&amp;nbsp;&amp;nbsp;&amp;nbsp; 　大家都說《&lt;a href="http://fifid.com/search/%E6%B5%B7%E8%A7%92%E4%B8%83%E8%99%9F?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;海角七號&lt;/a&gt;》好看，我也有同感。沒錯，《&lt;a href="http://fifid.com/search/%E6%B5%B7%E8%A7%92?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;海角&lt;/a&gt;》片中的茂伯、馬拉桑、水蛙等人物，及其營造出的多元族群、多元文化意象，還有恆春、墾丁的場景，都令人感動。但魏導用心良苦的「&lt;a href="http://fifid.com/search/%E5%8F%B0%E6%97%A5%E7%A0%B4%E9%8F%A1%E9%87%8D%E5%9C%93?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;台日破鏡重圓&lt;/a&gt;」寓言，卻是我覺得最有意思的地方。&lt;br /&gt;
&lt;br /&gt;
&amp;nbsp;&amp;nbsp;&amp;nbsp; 　片中，台灣的角色是：一位受到深愛但因日本懦弱而落空的女人（一九四五年在碼頭空等的台灣「&lt;a href="http://fifid.com/search/%E5%8F%8B%E5%AD%90?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;友子&lt;/a&gt;」）；一位生子後被日本拋棄的女人（「友子」的外孫女）；以及一位堅持與日籍女友（也叫「友子」）在一起、不惜跟到日本去的年輕男人（男主角阿嘉）。一九四五年的分離之苦，六十多年來的相思之情，在阿嘉的身上獲得了「&lt;a href="http://fifid.com/search/%E6%95%91%E8%B4%96?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;救贖&lt;/a&gt;」。&lt;br /&gt;
&lt;br /&gt;
&amp;nbsp;&amp;nbsp;&amp;nbsp; 　嚴格來講，《海角》的主題並不是「&lt;a href="http://fifid.com/search/%E5%8F%B0%E6%97%A5%E5%92%8C%E8%A7%A3?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;台日和解&lt;/a&gt;」，而是「&lt;a href="http://fifid.com/search/%E5%8F%B0%E6%97%A5%E8%8B%A6%E6%88%80?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;台日苦戀&lt;/a&gt;」。彼此吵架的怨偶，才需要和解。被外力無情拆散的姻緣，是終生遺憾，沒有和不和解的問題。由此觀之，《海角》並沒有拍出台日和解，但成功地拍出了台日相思，特別是台灣對日本的苦戀。&lt;br /&gt;
&lt;br /&gt;
&amp;nbsp;&amp;nbsp;&amp;nbsp; 　這樣的被殖民慾望，似乎還隱藏著對一九四五年以後中華民國/國民黨統治的有罪控訴。有趣的是，在《海角》片中，「&lt;a href="http://fifid.com/search/%E5%A4%96%E7%9C%81%E4%BA%BA?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;外省人&lt;/a&gt;」幾乎不曾出席。一九四五年接收台灣的中華民國/國民黨政權可謂完全缺席──除了片頭被男主角罵三字經的「&lt;a href="http://fifid.com/search/%E5%8F%B0%E5%8C%97?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;台北&lt;/a&gt;」，以及片尾台日臨別依依時的持槍國軍外。更確切地說，在片中缺席的外省人/中國人，似乎就是拆散台日姻緣、使台灣（女性）得不到日本（男性）的愛的「&lt;a href="http://fifid.com/search/%E7%AC%AC%E4%B8%89%E8%80%85?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;第三者&lt;/a&gt;」。&lt;br /&gt;
&lt;br /&gt;
&amp;nbsp;&amp;nbsp;&amp;nbsp; 　進而言之，所謂「&lt;a href="http://fifid.com/search/%E5%8F%B0%E7%81%A3%E4%BA%BA%E7%9A%84%E6%82%B2%E6%83%85?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;台灣人的悲情&lt;/a&gt;」，在《海角》片中獲得了某種新的詮釋：等不到日本的愛、被日本拋棄，即是「台灣人的悲情」所在。一九四五年拆散台日美好姻緣的外來統治者，似乎就是「台灣人的悲情」的最主要來源。&lt;br /&gt;
&lt;br /&gt;
&amp;nbsp;&amp;nbsp;&amp;nbsp; 　台獨運動過去所反對的壓迫，不只來自中國大陸，也包括日本的殖民統治。在台灣人四百年來被外人壓迫的獨派史觀之中，日本也是壓迫者。但如今，在《海角》片中，日本的壓迫者身分消失不見了。台灣人的悲情意識，似乎不再是抵抗一切外來壓迫的悲情意識，而轉變成「&lt;a href="http://fifid.com/search/%E7%84%A1%E6%B3%95%E5%BE%97%E5%88%B0%E6%97%A5%E6%9C%AC%E7%9A%84%E6%84%9B?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;無法得到日本的愛&lt;/a&gt;」的悲情意識。《海角》既隱含著這種新的悲情意識，同時也透過性別翻轉，由台灣男子和日籍女友的身心結合，以及片尾的台日大合唱，使這種悲情得到救贖。&lt;br /&gt;
&lt;br /&gt;
&amp;nbsp;&amp;nbsp;&amp;nbsp; 　由此，我不得不間接聯想到兩個問題。第一個問題是：戰後的中華民國統治，是否極為失敗？一九四五年，實際發生的情況不是台日依依不捨，而是歡迎祖國軍隊的到來；但二二八事件乃至白色恐怖，以及外省政權的省籍面向等等，後來改變了台灣人對日本與祖國的相對評價。如今，《海角》的台日苦戀戲碼，似暗示「&lt;a href="http://fifid.com/search/%E5%8F%B0%E7%81%A3?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;台灣&lt;/a&gt;」與「&lt;a href="http://fifid.com/search/%E4%B8%AD%E8%8F%AF%E6%B0%91%E5%9C%8B?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;中華民國&lt;/a&gt;」的「&lt;a href="http://fifid.com/search/%E5%92%8C%E8%A7%A3?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;和解&lt;/a&gt;」仍遙遙無期？若然，則更多的歷史反省，應是有必要的。&lt;br /&gt;
&lt;br /&gt;
&amp;nbsp;&amp;nbsp;&amp;nbsp; 　第二個問題是：到底什麼是「&lt;a href="http://fifid.com/search/%E5%8F%B0%E7%81%A3%E4%B8%BB%E9%AB%94%E6%84%8F%E8%AD%98?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;台灣主體意識&lt;/a&gt;」？《海角》的選擇，是與想像中深愛台灣的日本結合。很可能，多數台灣年輕人是因為拒斥中國，所以選擇較為先進的日本。但是，台灣人的主體性究竟是什麼？台灣人難道只能是被動等待救贖的「&lt;a href="http://fifid.com/search/%E4%BA%9E%E7%B4%B0%E4%BA%9E%E7%9A%84%E5%AD%A4%E5%85%92?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;亞細亞的孤兒&lt;/a&gt;」嗎？&lt;br /&gt;
&lt;br /&gt;
&amp;nbsp;&amp;nbsp;&amp;nbsp; 　有人說，商業電影好看賣座就好，為什麼要去想「&lt;a href="http://fifid.com/search/%E6%AD%B7%E5%8F%B2?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;歷史&lt;/a&gt;」這種沉重的問題？然而，我們選擇以何種形式再現殖民歷史，將影響年輕人如何記憶、如何界定自我。&lt;br /&gt;
&lt;br /&gt;
&amp;nbsp;&amp;nbsp;&amp;nbsp; 　把殖民關係浪漫化，應該是很令人難堪的出路。但《海角》的台日寓言，或許是一個契機，讓我們睜開眼睛重新看看，看看那段滿目瘡痍的歷史。在這一點上，《海角》的貢獻很大。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;a target="_blank" href="http://www.udn.com/2008/9/25/NEWS/OPINION/X1/4532323.shtml"&gt;&lt;strong&gt;海角七號&amp;hellip;殖民地次文化陰影&lt;/strong&gt;&lt;/a&gt;&lt;br /&gt;
【聯合報╱許介鱗／台灣日本綜合研究所所長（台北市)】&lt;br /&gt;
&amp;nbsp;&amp;nbsp;&amp;nbsp; &lt;br /&gt;
「&lt;a href="http://fifid.com/search/%E6%81%86%E6%98%A5%E9%83%A1%E6%B5%B7%E8%A7%92%E4%B8%83%E8%99%9F%EF%BC%88%E7%95%AA%E5%9C%B0%EF%BC%89?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;恆春郡海角七號（番地）&lt;/a&gt;」是台灣在日本殖民統治下，所賜予的地址。&lt;br /&gt;
&lt;br /&gt;
六十多年前，大日本帝國戰敗投降，日本人被迫從台灣遣返。一名返鄉日本人所寫的情書，從頭到尾貫穿了「海角七號」的故事情節，不斷的以日本語文朗誦情書旁白，充分顯露日本人離開台灣的依依不捨，並以愛情、音樂和夢想襯托出來，觸動了只「&lt;a href="http://fifid.com/search/%E5%90%91%E9%8C%A2%E7%9C%8B?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;向錢看&lt;/a&gt;」而失去靈魂的台灣觀眾。&lt;br /&gt;
&lt;br /&gt;
台灣真是沒有文化或說文化水準不高的島嶼。在太平洋戰爭時期被驅使到戰場的台灣人日本兵、軍屬、軍伕，超過廿萬人之多，他們都歷經生離死別的創痛，竟找不到一個人能寫出比日本人更扣人心弦的情書。台灣的影評，都在誇獎「海角七號」表現了「&lt;a href="http://fifid.com/search/%E5%8F%B0%E7%81%A3%E7%9A%84%E4%B8%BB%E9%AB%94%E6%80%A7?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;台灣的主體性&lt;/a&gt;」，解說這是國片的驕傲，台灣電影未來的希望。&lt;br /&gt;
&lt;br /&gt;
海角七號的主題曲：「&lt;a href="http://fifid.com/search/%E5%9C%8B%E5%A2%83%E4%B9%8B%E5%8D%97?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;國境之南&lt;/a&gt;」，歌詞：如果海會說話，如果風愛上砂，如果有些想念，遺忘在漫長的長假，我會聆聽浪花，讓風吹過頭髮&amp;hellip;。&lt;br /&gt;
&lt;br /&gt;
在大戰前，「國境之南」指大日本帝國的國境南方台灣，而恆春又是台灣的最南頂端。大戰後，日本作家村上春樹，寫「&lt;a href="http://fifid.com/search/%E5%9C%8B%E5%A2%83%E4%B9%8B%E5%8D%97%E3%80%81%E5%A4%AA%E9%99%BD%E4%B9%8B%E8%A5%BF?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;國境之南、太陽之西&lt;/a&gt;」，把國境之南描述為烏托邦。「國境之南」歌詞，只是摹仿村上春樹的作品「&lt;a href="http://fifid.com/search/%E8%81%BD%E9%A2%A8%E7%9A%84%E6%AD%8C?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;聽風的歌&lt;/a&gt;」、「&lt;a href="http://fifid.com/search/%E6%8C%AA%E5%A8%81%E7%9A%84%E6%A3%AE%E6%9E%97?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;挪威的森林&lt;/a&gt;」等意境。村上春樹本來是歐美文學的翻譯作家，「海角七號」所朗誦的情書旁白，就是這樣大量複製了村上春樹的文藝腔，離台灣自己藝術創作的主體性，還遙遠得很。&lt;br /&gt;
&lt;br /&gt;
「&lt;a href="http://fifid.com/search/%E6%B5%B7?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;海&lt;/a&gt;」片充斥搞笑、媚俗、本土、浪漫、音樂，加入搖滾樂等所有流行文化的「&lt;a href="http://fifid.com/search/%E8%A8%8E%E5%96%9C?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;討喜&lt;/a&gt;」元素，雖然能讓觀眾看到台灣的下層社會的繽紛色彩與本地人「&lt;a href="http://fifid.com/search/%E6%84%9B%E6%89%93%E6%8B%9A?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;愛打拚&lt;/a&gt;」的生命力，但畢竟只不過是美日「&lt;a href="http://fifid.com/search/%E6%AC%A1%E6%96%87%E5%8C%96?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;次文化&lt;/a&gt;」的大拼盤，缺乏的是哲學思想與世界觀。&lt;br /&gt;
&lt;br /&gt;
鄉土文學作家黃春明，他的「&lt;a href="http://fifid.com/search/%E8%8E%8E%E5%96%B2%E5%93%AA%E5%95%A6%E2%80%A7%E5%86%8D%E8%A6%8B?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;莎喲哪啦‧再見&lt;/a&gt;」，還深刻地洞悉台灣殖民文化的殘渣，他的作品會激起敵愾同仇的愛鄉情操；但到了徹底擁抱美日「次文化」的今天，觀看「海角七號」的現場，只激起一片搞笑的莫名笑聲，卻對本地人不文明的舉動，沒有任何的反省。&lt;br /&gt;
&lt;br /&gt;
我不得不說，「海角七號」隱藏著日本殖民地文化的陰影。一封由日本人所捉刀杜撰的情書，以日本人的調調滔滔不絕地表露，對過去殖民地台灣的戀戀「&lt;a href="http://fifid.com/search/%E9%84%89%E6%84%81?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;鄉愁&lt;/a&gt;」，其間參差了以日文唱的世界名曲，甚至終場的歌曲「&lt;a href="http://fifid.com/search/%E9%87%8E%E7%8E%AB%E7%91%B0?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;野玫瑰&lt;/a&gt;」（德國、歌德詞），還要重複以日文歌唱。台灣終究逃不了日本文化控制的魔手。&lt;br /&gt;
&lt;br /&gt;
幸虧日本人在背後撐腰，又有台灣報紙、電視的加油宣傳，「海角七號」的票房紀錄，慶幸已破了一億多元。縱使有一天在台灣島內，到達七億元的佳績，恐怕落得陳水扁「&lt;a href="http://fifid.com/search/%E6%B5%B7%E8%A7%92%E4%B8%83%E5%84%84?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;海角七億&lt;/a&gt;」的命運。阿扁所欠缺的，正是哲學思想和世界觀，這樣「&lt;a href="http://fifid.com/search/%E7%99%BC%E8%B2%A1%E5%A4%A2?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;發財夢&lt;/a&gt;」就會像肥皂泡沫的彩虹，那樣地隨風飄搖破滅。&lt;br /&gt;
&lt;br /&gt;
【2008/09/25 聯合報】@ http://udn.com/ &lt;/font&gt;...&lt;div class="feedflare"&gt;
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        <pubDate>Wed, 15 Oct 2008 17:10:15 GMT</pubDate>
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        <title>[觀點] Slavoj Zizek 談金融海嘯、中國與西藏</title>
        <link>http://feeds.feedburner.com/~r/pbear6150/~3/417203680/post.2978823.html</link>
        <description>&lt;font size="3"&gt;對近來金融海嘯底下美國的紓困救援政策，齊澤克的評論。&lt;br /&gt;
&lt;a target="_blank" href="http://www.lrb.co.uk/v00/n03/zize01_.html"&gt;&lt;strong&gt;&lt;br /&gt;
Don&amp;rsquo;t Just Do Something, Talk&lt;/strong&gt;&lt;/a&gt;&lt;br /&gt;
◎ Slavoj Zizek (9 Oct 2008)&lt;br /&gt;
&lt;br /&gt;
One of the most striking things about the reaction to the current financial meltdown is that, as one of the participants put it: &amp;lsquo;No one really knows what to do.&amp;rsquo; The reason is that expectations are part of the game: how the market reacts to a particular intervention depends not only on how much bankers and traders trust the interventions, but even more on how much they think others will trust them. Keynes compared the stock market to a competition in which the participants have to pick several pretty girls from a hundred photographs: &amp;lsquo;It is not a case of choosing those which, to the best of one&amp;rsquo;s judgment, are really the prettiest, nor even those which average opinion genuinely thinks the prettiest. We have reached the third degree where we devote our intelligence to anticipating what average opinion expects the average opinion to be.&amp;lsquo; We are forced to make choices without having the knowledge that would enable us to make them; or, as John Gray has put it: &amp;lsquo;We are forced to live as if we were free.&amp;rsquo;&lt;br /&gt;
&lt;br /&gt;
Joseph Stiglitz recently wrote that, although there is a growing consensus among economists that any bailout based on Henry Paulson&amp;rsquo;s plan won&amp;rsquo;t work, &lt;font color="#000080"&gt;&amp;lsquo;it is impossible for politicians to do nothing in such a crisis. So we may have to pray that an agreement crafted with the toxic mix of special interests, misguided economics and right-wing ideologies that produced the crisis can somehow produce a rescue plan that works &amp;ndash; or whose failure doesn&amp;rsquo;t do too much damage.&amp;rsquo; He&amp;rsquo;s right: since markets are effectively based on beliefs (even beliefs about other people&amp;rsquo;s beliefs), how the markets react to the bailout depends not only on its real consequences, but on the belief of the markets in the plan&amp;rsquo;s efficiency. The bailout may work even if it is economically wrong.&lt;/font&gt;&lt;br /&gt;
&lt;br /&gt;
There is a close similarity between the speeches George W. Bush has given since the crisis began and his addresses to the American people after 9/11. Both times, he evoked the threat to the American way of life and the necessity of fast and decisive action to cope with the danger. &lt;font color="#000080"&gt;Both times, he called for the partial suspension of American values (guarantees of individual freedom, market capitalism) in order to save the same values.&lt;/font&gt;&lt;br /&gt;
&lt;br /&gt;
Faced with a disaster over which we have no real influence, people will often say, stupidly, &amp;lsquo;Don&amp;rsquo;t just talk, do something!&amp;rsquo; &lt;font color="#000080"&gt;Perhaps, lately, we have been doing too much. Maybe it is time to step back, think and say the right thing. True, we often talk about doing something instead of actually doing it &amp;ndash; but sometimes we do things in order to avoid talking and thinking about them.&lt;/font&gt; Like quickly throwing 0 billion at a problem instead of reflecting on how it came about.&lt;br /&gt;
&lt;br /&gt;
On 23 September, the Republican senator Jim Bunning called the US Treasury&amp;rsquo;s plan for the biggest financial bailout since the Great Depression &amp;lsquo;un-American&amp;rsquo;:&lt;br /&gt;
&lt;br /&gt;
&amp;nbsp;&amp;nbsp;&amp;nbsp; Someone must take those losses. We can either let the people who made bad decisions bear the consequences of their actions, or we can spread that pain to others. And that is exactly what the Secretary proposes to do: take Wall Street&amp;rsquo;s pain and spread it to the taxpayers . . . This massive bailout is not the solution, it is financial socialism, and it is un-American.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Bunning was the first publicly to give the reasoning behind the GOP revolt against the bailout plan, which climaxed in its rejection on 29 September. The resistance was formulated in terms of &amp;lsquo;class warfare&amp;rsquo;, Wall Street against Main Street: why should we help those responsible (&amp;lsquo;Wall Street&amp;rsquo;) and let ordinary borrowers (on &amp;lsquo;Main Street&amp;rsquo;) pay the price for it? &lt;font color="#000080"&gt;Is this not a clear case of what economists call &amp;lsquo;moral hazard&amp;rsquo;? This is the risk that someone will behave immorally because insurance, the law or some other agency protects them against any loss that his behaviour might cause&lt;/font&gt;: if I am insured against fire, for example, I might take fewer fire precautions (or even burn down my premises if they are losing me money). The same goes for big banks, which are protected against big losses yet able to retain their profits.&lt;br /&gt;
&lt;br /&gt;
That the criticism of the bailout plan came from conservative Republicans as well as the left should make us think. What left and right share in this case is their contempt for big speculators and corporate managers who profit from risky decisions but are protected from failures by &amp;lsquo;golden parachutes&amp;rsquo;. In this respect, the Enron scandal of January 2002 can be interpreted as an ironic commentary on the notion of a risk society. &lt;font color="#000080"&gt;Thousands of employees who lost their jobs and savings were certainly exposed to risk, and had little choice in the matter. However, the top managers, who knew about the risk and also had the opportunity to intervene in the situation, minimised their exposure by cashing in their stocks and options before the bankruptcy. So while it is true that we live in a society that demands risky choices, it is one in which the powerful do the choosing, while others do the risking.&lt;br /&gt;
&lt;br /&gt;
If the bailout plan really is a &amp;lsquo;socialist&amp;rsquo; measure, it is a very peculiar one: a &amp;lsquo;socialist&amp;rsquo; measure whose aim is to help not the poor but the rich, not those who borrow but those who lend. &amp;lsquo;Socialism&amp;rsquo; is OK, it seems, when it serves to save capitalism. But what if &amp;lsquo;moral hazard&amp;rsquo; is inscribed in the fundamental structure of capitalism? The problem is that there is no way to separate the welfare of Main Street from that of Wall Street. Their relationship is non-transitive: what is good for Wall Street isn&amp;rsquo;t necessarily good for Main Street, but Main Street can&amp;rsquo;t thrive if Wall Street isn&amp;rsquo;t doing well &amp;ndash; and this asymmetry gives an a priori advantage to Wall Street.&lt;/font&gt;&lt;br /&gt;
&lt;br /&gt;
The standard &amp;lsquo;trickle-down&amp;rsquo; argument against redistribution (through progressive taxation etc) is that instead of making the poor richer, it makes the rich poorer. However, this apparently anti-interventionist attitude actually contains an argument for the current state intervention: &lt;font color="#000080"&gt;although we all want the poor to get better, it is counter-productive to help them directly, since they are not the dynamic and productive element; the only intervention needed is to help the rich get richer, and then the profits will automatically spread down to the poor. Throw enough money at Wall Street, and it will eventually trickle down to Main Street. If you want people to have money to build, don&amp;rsquo;t give it to them directly, help those who are lending it to them.&lt;/font&gt; This is the only way to create genuine prosperity &amp;ndash; otherwise, the state is merely distributing money to the needy at the expense of those who create wealth.&lt;br /&gt;
&lt;br /&gt;
It is all too easy to dismiss this line of reasoning as a hypocritical defence of the rich.&lt;font color="#000080"&gt; The problem is that as long as we are stuck with capitalism, there is a truth in it: the collapse of Wall Street really will hit ordinary workers.&lt;/font&gt; That is why the Democrats who supported the bailout were not being inconsistent with their leftist leanings. They would fairly be called inconsistent only if we accept the premise of Republican populists that capitalism and the free market economy are a popular, working-class affair, while state interventions are an upper-class strategy to exploit hard-working ordinary people.&lt;br /&gt;
&lt;br /&gt;
There is nothing new in strong state interventions into the banking system and the economy in general. The meltdown itself is the result of such an intervention: when, in 2001, the dotcom bubble burst, it was decided to make it easier to get credit in order to redirect growth into housing. Indeed, political decisions are responsible for the texture of international economic relations in general. A couple of years ago, a CNN report on &lt;font color="#000080"&gt;Mali described the reality of the international &amp;lsquo;free market&amp;rsquo;.&lt;/font&gt; The two pillars of the Mali economy are cotton in the south and cattle in the north, and both are in trouble because of the way that Western powers violate the same rules that they impose so brutally on Third World nations. Mali produces cotton of the highest quality, but the US government spends more money to support its cotton farmers than the entire state budget of Mali, so it is small wonder that Mali can&amp;rsquo;t compete. In the north, the European Union is the culprit: the EU subsidises every single cow to the tune of five hundred euros a year. The Mali minister for the economy said: &lt;font color="#000080"&gt;we don&amp;rsquo;t need your help or advice or lectures on the beneficial effects of abolishing excessive state regulations; just, please, stick to your own rules about the free market and our troubles will be over. &lt;/font&gt;Where are the Republican defenders of the free market here? Nowhere, because the collapse of Mali is the consequence of what it means for the US to put &amp;lsquo;our country first&amp;rsquo;.&lt;br /&gt;
&lt;br /&gt;
&lt;font color="#000080"&gt;&lt;font color="#ff0000"&gt;What all this indicates is that the market is never neutral: its operations are always regulated by political decisions. The real dilemma is not &amp;lsquo;state intervention or not?&amp;rsquo; but &amp;lsquo;what kind of state intervention?&amp;rsquo; &lt;/font&gt;And this is true politics: the struggle to define the conditions that govern our lives. The debate about the bailout deals with decisions about the fundamental features of our social and economic life, even mobilising the ghost of class struggle. As with many truly political issues, this one is non-partisan. There is no &amp;lsquo;objective&amp;rsquo; expert position that should simply be applied: one has to take a political decision.&lt;/font&gt;&lt;br /&gt;
&lt;br /&gt;
On 24 September, John McCain suspended his campaign and went to Washington, proclaiming that it was time to put aside party differences. Was this gesture really a sign of his readiness to end partisan politics in order to deal with the real problems that concern us all? Definitely not: it was a &amp;lsquo;Mr McCain goes to Washington&amp;rsquo; moment. Politics is precisely the struggle to define the &amp;lsquo;neutral&amp;rsquo; terrain, which is why McCain&amp;rsquo;s proposal to reach across party lines was pure political posturing, a partisan politics in the guise of non-partisanship, a desperate attempt to impose his position as universal-apolitical. What is even worse than &amp;lsquo;partisan politics&amp;rsquo; is a partisan politics that tries to mask itself as non-partisan: by imposing itself as the voice of the Whole, such a politics reduces its opponents by making them agents of particular interests.&lt;br /&gt;
&lt;br /&gt;
This is why Obama was right to reject McCain&amp;rsquo;s call to postpone the first presidential debate and to point out that the meltdown makes a political debate about how the two candidates would handle the crisis all the more urgent. In the 2000 election, Clinton won with the motto &amp;lsquo;It&amp;rsquo;s the economy, stupid!&amp;rsquo; The Democrats need to get a new message across: &amp;lsquo;It&amp;rsquo;s the POLITICAL economy, stupid!&amp;rsquo; The US doesn&amp;rsquo;t need less politics, it needs more.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;u&gt;Slavoj Žižek&lt;/u&gt;, a dialectical-materialist philosopher and psychoanalyst, is co-director of the International Centre for Humanities at Birkbeck. His latest book is In Defence of Lost Causes.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;/font&gt;&lt;font size="3"&gt;齊澤克以西方內省的角度來看待中國與西藏問題。&lt;br /&gt;
&lt;br /&gt;
What if China now is our past and future?&lt;br /&gt;
&lt;a target="_blank" href="http://mondediplo.com/2008/05/09tibet"&gt;&lt;strong&gt;Tibet: dream and reality&lt;/strong&gt;&lt;/a&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;font color="#808080"&gt;The West is projecting not only its own spiritual fantasies upon Tibet, but its own economic fears upon China, imagining a power struggle quite different from that which has actually happened in Tibet. We have to learn to look at Tibet as it is &amp;ndash; and China too.&lt;/font&gt;&lt;br /&gt;
&lt;br /&gt;
By Slavoj Zizek (2008. 5)&lt;br /&gt;
&lt;br /&gt;
All the media reports impose an image which goes like this: the People&amp;rsquo;s Republic of China, which illegally occupied Tibet in 1950, engaged for decades in brutal and systematic destruction not only of the Tibetan religion, but of the identity of Tibetans as a free people. Recently the protests of the Tibetan people against Chinese occupation were again crushed with brutal police and military force. Since China is organising the 2008 Olympic games, it is the duty of all of us who love democracy and freedom to put pressure on China to return to the Tibetans what it stole from them. A country with such a dismal human rights record cannot be allowed to whitewash its image with the noble Olympic spectacle.&lt;br /&gt;
&lt;br /&gt;
What are our governments going to do? Will they, as usual, cede to economic pragmatism, or will they gather the strength to put our highest ethical and political values above short-term economic interests? While the Chinese authorities did no doubt commit many acts of murderous terror and destruction in Tibet, some things disturb this simple &amp;ldquo;good guys versus bad guys&amp;rdquo; image. Here are nine points which anyone passing judgment on recent events in Tibet should bear in mind:&lt;br /&gt;
&lt;br /&gt;
1. Tibet, an independent country until 1950, was not suddenly occupied by China. The history of its relations with China is long and complex, with China often acting as a protective overlord &amp;ndash; the anti-Communist Kuomintang also insisted on Chinese sovereignty over Tibet. (The term &amp;ldquo;Dalai Lama&amp;rdquo; bears witness to this interaction: it combines the Mongolian dalai &amp;ndash; ocean &amp;ndash; and the Tibetan bla-ma.)&lt;br /&gt;
&lt;br /&gt;
2. Before 1950 Tibet was no Shangri-la, but a country of harsh feudalism, poverty (life expectancy was barely 30), corruption and civil wars (the last, between two monastic factions, was in 1948 when the Red Army was already knocking at the door). Fearing social unrest and disintegration, the ruling elite prohibited any development of industry, so all metal had to be imported from India. This did not prevent the elite from sending their children to British schools in India and transferring financial assets to British banks there.&lt;br /&gt;
&lt;br /&gt;
3. The Cultural Revolution which ravaged the Tibetan monasteries in the 1960s was not imported by the Chinese. Fewer than a hundred of the Red Guards came to Tibet with the revolution, and the young mobs burning the monasteries were almost exclusively Tibetan.&lt;br /&gt;
&lt;br /&gt;
4. Since the early 1950s there has been systematic and substantial CIA involvement in stirring up anti-Chinese troubles in Tibet, so Chinese fears of external attempts to destabilise Tibet are not irrational (1).&lt;br /&gt;
&lt;br /&gt;
5. As television images show, what is going on now in Tibetan regions is no longer a peaceful &amp;ldquo;spiritual&amp;rdquo; protest of monks as in Burma over the last year, but also gangs burning and killing ordinary Chinese immigrants and their stores. We should measure the Tibetan protests by the same standards as we measure other violent protests: if Tibetans can attack Chinese immigrants, why can&amp;rsquo;t the Palestinians do the same to the Israeli settlers on the West Bank?&lt;br /&gt;
&lt;br /&gt;
6. The Chinese invested heavily in Tibetan economic development, as well as infrastructure, education and health services. Despite undeniable oppression, the average Tibetan has never enjoyed such a standard of living as today. Poverty is now worse in China&amp;rsquo;s own undeveloped western rural provinces than in Tibet.&lt;br /&gt;
&lt;br /&gt;
7. In recent years the Chinese changed their strategy in Tibet: depoliticised religion is now tolerated, often even supported. The Chinese rely more on ethnic and economic colonisation, rapidly transforming Lhasa into a Chinese capitalist Wild West with karaoke bars and Disney-like &amp;ldquo;Buddhist theme parks&amp;rdquo; for western tourists. What the media image of brutal Chinese soldiers and policemen terrorising the Buddhist monks conceals is a far more effective American-style socioeconomic transformation. In a decade or two Tibetans will be reduced to the status of Native Americans in the United States.&lt;br /&gt;
&lt;font color="#000080"&gt;&lt;br /&gt;
It seems the Chinese Communists finally learned the lesson: what is the oppressive power of secret police, camps and Red Guards destroying ancient monuments, compared to the power of unbridled capitalism to undermine all traditional social relations? The Chinese are doing what the West has always done, as Brazil did in the Amazon or Russia in Siberia, and the US on its own western frontiers.&lt;/font&gt;&lt;br /&gt;
&lt;br /&gt;
8. A main reason why so many in the West have taken part in the protests against China is ideological: Tibetan Buddhism, deftly spun by the Dalai Lama, is a major point of reference of the New Age hedonist spirituality which is becoming the predominant form of ideology today. &lt;font color="#000080"&gt;Our fascination with Tibet makes it into a mythic place upon which we project our dreams. When people mourn the loss of the authentic Tibetan way of life, they don&amp;rsquo;t care about real Tibetans: they want Tibetans to be authentically spiritual on behalf of us so we can continue with our crazy consumerism.&lt;/font&gt;&lt;br /&gt;
&lt;br /&gt;
The philosopher Gilles Deleuze wrote: &amp;ldquo;If you are snagged in another&amp;rsquo;s dream, you are lost.&amp;rdquo; The protesters against China are right to counter the Beijing Olympics motto of &amp;ldquo;one world, one dream&amp;rdquo; with &amp;ldquo;one world, many dreams&amp;rdquo;. But they should be aware that they are imprisoning Tibetans in their own dream. It is not the only dream.&lt;br /&gt;
&lt;br /&gt;
9. If there is an ominous dimension to what is going on now in China, it is elsewhere. Faced with today&amp;rsquo;s explosion of capitalism in China, analysts often ask when political democracy, as the &amp;ldquo;natural&amp;rdquo; political accompaniment of capitalism, will come.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;u&gt;Valley of tears&lt;/u&gt;&lt;br /&gt;
&lt;br /&gt;
In a television interview a couple of years ago, &lt;font color="#000080"&gt;the sociologist Ralf Dahrendorf linked the growing distrust of democracy in post-Communist east European countries to the fact that, after every revolutionary change, the road to new prosperity leads through a valley of tears. After the breakdown of socialism, one cannot directly pass to the abundance of a successful market economy. The limited but real socialist welfare and security have to be dismantled, and these first steps are necessarily painful.&lt;br /&gt;
&lt;/font&gt;&lt;br /&gt;
&lt;font color="#000080"&gt;For Dahrendorf, this painful passage lasts longer than the average period between (democratic) elections, so that the temptation is great to postpone the difficult changes for the short-term electoral gains. Fareed Zakaria, editor of Newsweek International, pointed out (2) that democracy can only catch on in economically developed countries: if developing countries are prematurely democratised, the result is a populism which ends in economic catastrophe and political despotism. &lt;/font&gt;No wonder the three formerly third world countries that are the most successful economically &amp;ndash; Taiwan, South Korea, Chile &amp;ndash; embraced full democracy only after a period of authoritarian rule.&lt;br /&gt;
&lt;br /&gt;
&lt;font color="#000080"&gt;There is a further paradox: what if the promised democratic second stage that follows the authoritarian valley of tears never comes? This is the most unsettling thing about China. &lt;/font&gt;There is the suspicion that its authoritarian capitalism is not merely a reminder of our past, the repetition of the process of capitalist accumulation which in Europe went on from the 16th to the 18th century, but a sign of the future. What if the &amp;ldquo;vicious combination of the Asian knout and the European stock market&amp;rdquo; proves economically more efficient than our liberal capitalism? Might it signal that democracy, as we understand it, is no longer a condition and motor of economic development, but an obstacle?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;u&gt;Slavoj Zizek&lt;/u&gt; is a philosopher at the University of Ljubljana, Slovenia, and author most recently of Violence, Big Ideas/Small Books, Picador, and In Defence of Lost Causes, Verso, both published in London in 2008&lt;br /&gt;
&lt;br /&gt;
(1) See Kenneth Conboy and James Morrison&amp;rsquo;s detailed study, The CIA&amp;rsquo;s Secret War in Tibet, University Press of Kansas, 2002.&lt;br /&gt;
&lt;br /&gt;
(2) The Future of Freedom: Illiberal Democracy, WW Norton &amp;amp; Co, New York, 2003.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
October 11, 2007&lt;br /&gt;
&lt;a target="_blank" href="http://www.nytimes.com/2007/10/11/opinion/11zizek.html?_r=1&amp;amp;oref=slogin"&gt;&lt;strong&gt;How China Got Religion&lt;/strong&gt;&lt;/a&gt;&lt;br /&gt;
By SLAVOJ ZIZEK (London)&lt;br /&gt;
&lt;br /&gt;
THE Western liberal media had a laugh in August when China&amp;rsquo;s State Administration of Religious Affairs announced Order No. 5, a law covering &amp;ldquo;the management measures for the reincarnation of living Buddhas in Tibetan Buddhism.&amp;rdquo; This &amp;ldquo;important move to institutionalize management on reincarnation&amp;rdquo; basically prohibits Buddhist monks from returning from the dead without government permission: no one outside China can influence the reincarnation process; only monasteries in China can apply for permission.&lt;br /&gt;
&lt;br /&gt;
&lt;font color="#000080"&gt;Before we explode in rage that Chinese Communist totalitarianism now wants to control even the lives of its subjects after their deaths, we should remember that such measures are not unknown to European history.&lt;/font&gt; The Peace of Augsburg in 1555, the first step toward the Peace of Westphalia in 1648 that ended the Thirty Years&amp;rsquo; War, declared the local prince&amp;rsquo;s religion to be the official faith of a region or country (&amp;ldquo;cuius regio, eius religio&amp;rdquo;). &lt;font color="#000080"&gt;The goal was to end violence between German Catholics and Lutherans, but it also meant that when a new ruler of a different religion took power, large groups had to convert. Thus the first big institutional move toward religious tolerance in modern Europe involved a paradox of the same type as that of Order No. 5: your religious belief, a matter of your innermost spiritual experience, is regulated by the whims of your secular leader.&lt;br /&gt;
&lt;/font&gt;&lt;br /&gt;
Contrary to the conventional wisdom, the Chinese government is not antireligious. Its stated worry is social &amp;ldquo;harmony&amp;rdquo; &amp;mdash; the political dimension of religion.&lt;font color="#000080"&gt; In order to curb the excess of social disintegration caused by the capitalist explosion, officials now celebrate religions that sustain social stability, from Buddhism to Confucianism &amp;mdash; the very ideologies that were the target of the Cultural Revolution.&lt;/font&gt; Last year, Ye Xiaowen, China&amp;rsquo;s top religious official, told Xinhua, the official Chinese news agency, that &amp;ldquo;religion is one of the important forces from which China draws strength,&amp;rdquo; and he singled out Buddhism for its &amp;ldquo;unique role in promoting a harmonious society.&amp;rdquo;&lt;br /&gt;
&lt;br /&gt;
What bothers Chinese authorities are sects like Falun Gong that insist on independence from state control. In the same vein, the problem with Tibetan Buddhism resides in an obvious fact that many Western enthusiasts conveniently forget: the traditional political structure of Tibet is theocracy, with the Dalai Lama at the center. He unites religious and secular power &amp;mdash; so when we are talking about the reincarnation of the Dalai Lama, we are taking about choosing a head of state. It is strange to hear self-described democracy advocates who denounce Chinese persecution of followers of the Dalai Lama &amp;mdash; a non-democratically elected leader if there ever was one.&lt;br /&gt;
&lt;font color="#000080"&gt;&lt;br /&gt;
In recent years, the Chinese have changed their strategy in Tibet: in addition to military coercion, they increasingly rely on ethnic and economic colonization. Lhasa is transforming into a Chinese version of the capitalist Wild West, with karaoke bars and Disney-like Buddhist theme parks.&lt;/font&gt;&lt;br /&gt;
&lt;br /&gt;
In short, the media image of brutal Chinese soldiers terrorizing Buddhist monks conceals a much more effective American-style socioeconomic transformation: in a decade or two, Tibetans will be reduced to the status of the Native Americans in the United States. Beijing finally learned the lesson: what is the oppressive power of secret police forces, camps and Red Guards destroying ancient monuments compared to the power of unbridled capitalism to undermine all traditional social relations?&lt;br /&gt;
&lt;br /&gt;
It is all too easy to laugh at the idea of an atheist power regulating something that, in its eyes, doesn&amp;rsquo;t exist. However, do we believe in it? When in 2001 the Taliban in Afghanistan destroyed the ancient Buddhist statues at Bamiyan, many Westerners were outraged &amp;mdash; but how many of them actually believed in the divinity of the Buddha? Rather, we were angered because the Taliban did not show appropriate respect for the &amp;ldquo;cultural heritage&amp;rdquo; of their country. &lt;font color="#000080"&gt;Unlike us sophisticates, they really believed in their own religion, and thus had no great respect for the cultural value of the monuments of other religions.&lt;/font&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;font color="#000080"&gt;The significant issue for the West here is not Buddhas and lamas, but what we mean when we refer to &amp;ldquo;culture.&amp;rdquo; All human sciences are turning into a branch of cultural studies.&lt;/font&gt; While there are of course many religious believers in the West, especially in the United States, vast numbers of our societal elite follow (some of the) religious rituals and mores of our tradition only out of respect for the &amp;ldquo;lifestyle&amp;rdquo; of the community to which we belong: Christmas trees in shopping centers every December; neighborhood Easter egg hunts; Passover dinners celebrated by nonbelieving Jews.&lt;br /&gt;
&lt;br /&gt;
&lt;font color="#000080"&gt;&amp;ldquo;Culture&amp;rdquo; has commonly become the name for all those things we practice without really taking seriously. And this is why we dismiss fundamentalist believers as &amp;ldquo;barbarians&amp;rdquo; with a &amp;ldquo;medieval mindset&amp;rdquo;: they dare to take their beliefs seriously. Today, we seem to see the ultimate threat to culture as coming from those who live immediately in their culture, who lack the proper distance.&lt;br /&gt;
&lt;br /&gt;
Perhaps we find China&amp;rsquo;s reincarnation laws so outrageous not because they are alien to our sensibility, but because they spill the secret of what we have done for so long: respectfully tolerating what we don&amp;rsquo;t take quite seriously, and trying to contain its political consequences through the law.&lt;/font&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;u&gt;Slavoj Zizek&lt;/u&gt;, the international director of the Birkbeck Institute for the Humanities, is the author, most recently, of &amp;ldquo;The Parallax View.&amp;rdquo;&lt;br /&gt;
&lt;/font&gt;...&lt;div class="feedflare"&gt;
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        <pubDate>Fri, 10 Oct 2008 16:10:58 GMT</pubDate>
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        <title>[遺緒] 陳映真〈惋惜〉／余光中〈向歷史自首?〉</title>
        <link>http://feeds.feedburner.com/~r/pbear6150/~3/416397465/post.2978227.html</link>
        <description>&lt;font size="3"&gt;&lt;strong&gt;&lt;a href="http://intermargins.net/intermargins/TCulturalWorkshop/academia/intellectual%20field/if18.htm" target="_blank"&gt;惋惜&amp;nbsp;&lt;/a&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&lt;/strong&gt;&amp;nbsp; &lt;br /&gt;
◎陳映真&lt;br /&gt;
&lt;br /&gt;
一、一場在大陸文壇引發的余光中爭議&lt;br /&gt;
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今年的五月二十一日，北京中國社科院港臺文學所的趙稀方研究員在《&lt;a href="http://fifid.com/search/%E4%B8%AD%E5%9C%8B%E5%9C%96%E6%9B%B8%E5%95%86%E5%A0%B1?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;中國圖書商報&lt;/a&gt;》上刊出〈&lt;a href="http://fifid.com/search/%E8%A6%96%E7%B7%9A%E4%B9%8B%E5%A4%96%E7%9A%84%E4%BD%99%E5%85%89%E4%B8%AD?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;視線之外的余光中&lt;/a&gt;〉，並配有〈答《中國圖書商報》記者問〉。文章和問答中，突出地提到一九七七年八月間臺灣的「&lt;a href="http://fifid.com/search/%E9%84%89%E5%9C%9F%E6%96%87%E5%AD%B8%E8%AB%96%E7%88%AD?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;鄉土文學論爭&lt;/a&gt;」中余光中拋出以〈&lt;a href="http://fifid.com/search/%E7%8B%BC%E4%BE%86%E4%BA%86%EF%BC%81?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;狼來了！&lt;/a&gt;〉爲題的雜文，在嚴苛的反共戒嚴時代，公開警告共產黨的「&lt;a href="http://fifid.com/search/%E5%B7%A5%E8%BE%B2%E5%85%B5%E6%96%87%E5%AD%B8?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;工農兵文學&lt;/a&gt;」已經滲透到臺灣，要當局「&lt;a href="http://fifid.com/search/%E6%8A%93%E9%A0%AD?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;抓頭&lt;/a&gt;」，不必怕別人攻擊給作家「&lt;a href="http://fifid.com/search/%E6%89%A3%E5%B8%BD%E5%AD%90?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;扣帽子&lt;/a&gt;」；也提到一九八九年七月，當時早已是「&lt;a href="http://fifid.com/search/%E5%8F%B0%E7%8D%A8?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;台獨&lt;/a&gt;」論者的陳芳明出版《&lt;a href="http://fifid.com/search/%E9%9E%AD%E5%82%B7%E4%B9%8B%E5%B3%B6?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;鞭傷之島&lt;/a&gt;》中，道出余光中曾寄給陳芳明「&lt;a href="http://fifid.com/search/%E4%B8%80%E5%B0%81%E9%95%B7%E4%BF%A1?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;一封長信&lt;/a&gt;」並附寄了幾份影印文件。其中「有一份陳映真的文章，也有一份馬克思文字的英譯。余光中特別以紅筆加上眉批，並用中英對照的考據法，指出陳映真引述馬克思之處&amp;hellip;&amp;hellip;」。&lt;br /&gt;
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&amp;nbsp;　　二○○○年九月，我初次在與陳芳明的一場關於臺灣社會性質、與文學史分期問題上展開論爭中的一篇文章中，提及余光中這「&lt;a href="http://fifid.com/search/%E7%B2%BE%E5%BF%83%E7%BE%85%E7%B9%94%E7%9A%84%E4%B8%80%E5%B0%81%E9%95%B7%E4%BF%A1?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;精心羅織的一封長信&lt;/a&gt;」，直接寄給了當時特務總管「&lt;a href="http://fifid.com/search/%E7%8E%8B%E6%98%87%E5%B0%87%E8%BB%8D%E7%9A%84%E6%89%8B%E4%B8%8A?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;王昇將軍的手上&lt;/a&gt;」。而「寄給陳芳明的，應是這告密信的副本」。&lt;br /&gt;
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&amp;nbsp;　　有關這「一封長信」，一九八九年陳芳明的揭露，和二○○○年我的提起，在島內都未引起什麽可以感知的波紋。但今年五月趙稀方的文章卻很快在大陸引發了討論。抑余者有之，揚余者也不少。參加討論的，除臺灣的呂正惠、楊若萍外，都是大陸、香港的陳漱渝、陳子善、錢虹、劉心武、薛永辰、黃維梁，和趙稀方的幾篇回應。&lt;br /&gt;
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&amp;nbsp;　　九月十一日，余光中先生第一次在《&lt;a href="http://fifid.com/search/%E7%BE%8A%E5%9F%8E%E6%99%9A%E5%A0%B1?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;羊城晚報&lt;/a&gt;》寫〈&lt;a href="http://fifid.com/search/%E5%90%91%E6%AD%B7%E5%8F%B2%E8%87%AA%E9%A6%96%EF%BC%9F?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;向歷史自首？&lt;/a&gt;〉作了回應，並且對我提出數問，爲自己洗清。事情發展至此，雖非所願，但繼之尋思：如果我和余先生皆能端正態度，以余先生在發表回應文章前致我私信中強調的「&lt;a href="http://fifid.com/search/%E5%96%84%E6%84%8F%E8%88%87%E8%AA%A0%E6%84%8F?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;善意與誠意&lt;/a&gt;」，公開交換意見，坦誠面對歷史，達成諒解，彌合傷痕，增進當下臺灣民族文壇的團結，當是很有積極意義的事。&lt;br /&gt;
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二、我對「&lt;a href="http://fifid.com/search/%E4%BD%99%E5%85%89%E4%B8%AD%E4%BA%8B%E4%BB%B6?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;余光中事件&lt;/a&gt;」的認識和立場&lt;br /&gt;
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&amp;nbsp;　　我想把應該在結論中提出的、對於「余光中事件」的認識和立場先說一說。十九世紀中後，世界進入弱肉強食的現代帝國主義時代。包括臺灣在內的全中國淪爲半殖民地．半封建社會的深淵。作爲這淪落的一個組成部份，一八九五年因甲午戰敗，臺灣島進一步淪爲日帝治下的殖民地．半封建社會。撇除殖民地臺灣在社會、政治、經濟上的殖民化傷害，日本據台之初，就百般壓抑漢族語文，把日語當作「&lt;a href="http://fifid.com/search/%E5%9C%8B%E8%AA%9E?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;國語&lt;/a&gt;」強加於島民，剝奪島民的民族母語，強迫島民以日語思想、書寫和創作。一九三七年日帝全面侵華，漢語和白話文遭到全面徹底的禁絕。一九四一年，日帝發動太平洋戰爭，在文學上強迫臺灣作家寫歌頌侵略戰爭，卑視自己民族的血統，煽動對「&lt;a href="http://fifid.com/search/%E5%A4%A9%E7%9A%87?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;天皇&lt;/a&gt;」、「&lt;a href="http://fifid.com/search/%E8%81%96%E6%88%B0?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;聖戰&lt;/a&gt;」，並誓死盡忠的作品，在臺灣新文學的心靈和精神上劃下至今猶未癒合的傷口。體現了這沈痛傷口的，不僅僅是表現了皇民歇斯底里的周金波、陳火泉等人的作品，也包括了表現面從腹背、猶疑、苦悶、自棄的龍瑛琮，和爲民族認同而在日帝侵華的非理世界中遭到敵人和同胞理不盡的傷害，猶疑、痛苦而終於在實踐中克服了被歪曲的歷史的吳濁流。&lt;br /&gt;
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&amp;nbsp;　　但時至今日，當韓國年輕學界（如金在湧教授）遲至今日才展開科學實證的研究，面對日占下朝鮮政治和文學歷史上的「&lt;a href="http://fifid.com/search/%E8%A6%AA%E6%97%A5?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;親日&lt;/a&gt;」人物、行爲和作品時，海峽兩岸卻長期對這些問題視若無睹。不，在臺灣，反民族分離派甚至主張不以「&lt;a href="http://fifid.com/search/%E4%B8%AD%E5%9C%8B%E4%BA%BA%E7%AB%8B%E5%A0%B4?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;中國人立場&lt;/a&gt;」處理日帝下「親日」問題，並且和日本右翼學界互相唱合，主張「&lt;a href="http://fifid.com/search/%E7%9A%87%E6%B0%91%E5%8C%96?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;皇民化&lt;/a&gt;」爲臺灣帶來了「&lt;a href="http://fifid.com/search/%E7%AC%AC%E4%B8%80%E5%80%8B%E5%9C%8B%E8%AA%9E?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;第一個國語&lt;/a&gt;」，並謂以之構成政治和文學的「&lt;a href="http://fifid.com/search/%E5%85%AC%E5%85%B1%E9%A0%98%E5%9F%9F?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;公共領域&lt;/a&gt;」，成長爲脫離中國的「&lt;a href="http://fifid.com/search/%E8%87%BA%E7%81%A3%E6%B0%91%E6%97%8F%E4%B8%BB%E7%BE%A9?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;臺灣民族主義&lt;/a&gt;」！於是傷口未見痊好，而且進一步糜爛、蓄膿。&lt;br /&gt;
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&amp;nbsp;　　一九二○年代初開始，中國人民在救亡、發展問題上開始了左右兩大傾向的探索。一九二七年四月蔣介石政變（清共大屠），左右分裂對峙。抗日戰爭中西安事變後，國共合作抗敵。一九四五年勝利，四六年國共內戰再起。在戰後世界冷戰體制形成過程中，美國介入我國內戰。一九四九年十月中共建政，國府撤台。翌年韓戰爆發，美國軍事介入海峽，中國隔海峽而分裂，依靠成爲美國遠東戰略前線自保。 &lt;br /&gt;
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就在這民族在外力介入下的分裂的傷口，臺灣建立了反共軍事獨裁，以自由、民主的名義，鼓勵極端的反共意識形態，煽動同族相仇、相疑、相殘的政治，建立可以無限上綱的反共國家安全體系。 &lt;br /&gt;
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在這「&lt;a href="http://fifid.com/search/%E9%AB%94%E7%B3%BB?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;體系&lt;/a&gt;」下，二、三○年代以降至四○年代末的臺灣的和大陸的文學、哲學、社會科學被非法化。以國家安全爲名的密告、政治上的冤、假案泛濫，恨共、仇共的教育不知何時轉化爲對中國、中國人的醜詆、怨恨和對立。時至今日，這慘痛的民族傷口，因缺少反省、清理的條件，不但至今不曾痊好，而且一方面任人強加勒索性的昂貴軍購，把自已捆綁在別人的戰略前沿利益，一步步癡狂地走上危險的民族內戰。 &lt;br /&gt;
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這戰後的傷口，使臺灣喪失了呂赫若、朱點人、簡國賢、藍明谷這些優秀的作家，使楊逵失去十二年的自由，使臺灣和大陸在四九年前的新文學傳統斷裂&amp;hellip;&amp;hellip;&lt;br /&gt;
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&amp;nbsp;　　我因此把余光中先生一九七七年的〈狼來了！〉和那「一封長信」擺到這個框架上來認識，因而並不以爲是我和他的個人的恩怨。我知道人是社會諸關係的總 合，也就是歷史諸關係的結果。在交織著民族內戰和國際冷戰的歷史，人受其影響，限制了認識力，做出了遺憾的言動，是很可以理解的。 &lt;br /&gt;
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但這並不能否定人的終極的主體性，在前進的歷史變化中，人也能跟著前進，體悟到過去歷史中自己的是非功過。&lt;br /&gt;
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&amp;nbsp;　　一九四一年，日帝在太平洋戰區的侵略戰爭勢如破竹的態勢下，許多日本、甚至殖民地朝鮮的作家，包括曾是左翼反戰反帝的作家，大量、大面積向日本皇國體制傾倒、轉向（相形之下，臺灣的「&lt;a href="http://fifid.com/search/%E7%9A%87%E6%B0%91%E4%BD%9C%E5%AE%B6?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;皇民作家&lt;/a&gt;」不過二、三人），至今尚未能徹底清理。但是日本戰敗不久，日本人如大夢初醒，覺悟到自己民族所犯的不可置信的戰爭犯罪，（雖然有人懷疑此僅足以爲天皇和個別必須爲戰爭犯罪負責的人開脫其罪責）進步文壇喊出了「&lt;a href="http://fifid.com/search/%E4%B8%80%E5%84%84%E4%BA%BA%E6%87%BA%E6%82%94?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;一億人懺悔&lt;/a&gt;」、「&lt;a href="http://fifid.com/search/%E4%B8%80%E5%84%84%E4%BA%BA%E6%85%9F%E5%93%AD?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;一億人慟哭&lt;/a&gt;」（按，日本人口總數時約一億人）的口號，清查在戰時中協贊軍國主義的文化人和作家的「&lt;a href="http://fifid.com/search/%E6%88%B0%E7%88%AD%E8%B2%AC%E4%BB%BB?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;戰爭責任&lt;/a&gt;」，引起廣泛爭論，認爲不清理作家的戰爭責任，無從在戰後重建新的、民主主義的日本文學。但五○年韓戰一聲炮響，日本和國際政局大變，往日的戰爭協力派（政客和財伐），爲反共反華戰略利益受到美國佔領當局的青睞，作家的戰爭責任清理運動，隨著美國佔領當局對左派的「&lt;a href="http://fifid.com/search/%E8%BB%9F%E8%82%85%E6%B8%85?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;軟肅清&lt;/a&gt;」而煙消雲散，至今成爲日本「&lt;a href="http://fifid.com/search/%E6%88%B0%E5%BE%8C%E6%B8%85%E7%90%86?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;戰後清理&lt;/a&gt;」的一個大漏洞，從中滋生今日日本右派政客、學人、文人縱橫日本的局面。&lt;br /&gt;
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&amp;nbsp;　　&lt;font color="#000080"&gt;一個曾在少時背叛自己的階級，參加革命的大陸好友，對我絮絮切切地述說「&lt;a href="http://fifid.com/search/%E6%96%87%E9%9D%A9?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;文革&lt;/a&gt;」對她身心、思想、精神的強烈打擊；也告訴了我她花去了很長時間，很大的心力，才逐漸克服了思想障礙，超越了歷史加予的傷痕，重新清醒地拾回了信念，寬恕了惡待過她的人們。我們應該堅持「&lt;a href="http://fifid.com/search/%E6%AD%B7%E5%8F%B2%E4%B8%BB%E7%BE%A9?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;歷史主義&lt;/a&gt;」的態度，她說，歷史主義就是把人與事物擺回歷史原有的框架，去認識和評價，也要以今日經過歷史教育的自己的主體去回眸。涉及到自己，若認識到往日受限於歷史造成的極限、有所不足，就要反思，甚至表態，涉及他人，只要他人有反思或悔恨之情，就要學習包容和接納，以大局爲重。&lt;/font&gt;&lt;br /&gt;
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&amp;nbsp;　　這不是她的原話，但大意如此。她在大苦難中學會的智慧，很贏得我的佩服。&lt;br /&gt;
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&amp;nbsp;　　對於余光中先生的歷史問題，我也願意以「歷史主義」的認識，即從人在其不同的發展階段的歷史影響去面對。具體下來，從戰後內戰與冷戰的雙重結構和民族分裂對峙下的臺灣，理解余光中先生的〈狼來了！〉和那〈一封長信〉，並且從今日回眸面對過去的余光中先生的態度，去清理在鄉土文學論戰中留下的傷口。&lt;br /&gt;
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三、回應余光中的說辭和提問&lt;br /&gt;
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&amp;nbsp;　　今年六月二十六日香港的鍾鈴教授寄來一封信。可是因爲我剛好人在深圳求醫，直到八月二十日才收到。原來鍾教授曾在六月到臺灣，余光中先生找她懇談。余先生就〈&lt;a href="http://fifid.com/search/%E7%8B%BC%E4%BE%86%E4%BA%86?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;狼來了&lt;/a&gt;〉和那「一封長信」有所解釋和辯白，其內容在他九月十一日在《羊城晚報》上刊出的〈向歷史自首？〉大部份的文字一字不易，當然增加了更多他對我有關那「&lt;a href="http://fifid.com/search/%E4%B8%80%E5%B0%81%E4%BF%A1?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;一封信&lt;/a&gt;」的看法的質疑。&lt;font color="#000080"&gt;我在兩封分別間接、直接寄給余光中先生的信中都懇切地說過，只要余先生正心誠意地面對歷史，確實覺得昨日之非，並且誠懇地公開表態，表示遺憾甚至「&lt;a href="http://fifid.com/search/%E9%81%93%E6%AD%89?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;道歉&lt;/a&gt;」（這是余先生對鍾教授和我在他信中表示過的），整個事情就了結了，余先生不但因而能解除「&lt;a href="http://fifid.com/search/%E9%95%B7%E6%9C%9F%E5%9B%B0%E6%94%AA?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;長期困攪&lt;/a&gt;」他的重軛，並能贏得廣大讀者的體諒和尊敬，益增余先生的光華。&lt;/font&gt;我也建議不要抓事實的細節周旋，則勢必逼得非把一些更加無益于余先生的事實披露出來，實以爲不智。我也不憚於舉出五○年代美國麥卡錫大面積鼓動反共風潮時，美國才華橫溢的大導演伊力亞卡山檢舉了電影文化界的「&lt;a href="http://fifid.com/search/%E5%85%B1%E9%BB%A8%E5%AB%8C%E7%96%91?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;共黨嫌疑&lt;/a&gt;」者，使人受到「&lt;a href="http://fifid.com/search/%E9%9D%9E%E7%BE%8E%E5%A7%94%E5%93%A1%E6%9C%83?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;非美委員會&lt;/a&gt;」的調查，身心、工作遭到壓迫。近幾年前，卡山獲頒「&lt;a href="http://fifid.com/search/%E7%B5%82%E7%94%9F%E6%88%90%E5%B0%B1%E7%8D%8E?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;終生成就獎&lt;/a&gt;」，在頒獎儀式中，約有近五分之二的觀禮者拒絕起立爲他鼓掌。在螢光幕上看到老年的卡山，幾乎沒有一句受獎辭，匆匆尷尬退場。在螢光幕上見此，心中悲憫，至今難忘。大詩人龐德、大哲學家海德格都有在二戰中協贊德國納粹的歷史，爲之「&lt;a href="http://fifid.com/search/%E5%9B%B0%E6%94%AA?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;困攪&lt;/a&gt;」終生。&lt;br /&gt;
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&amp;nbsp;　　現在余先生公開以〈向歷史自首？〉回應，我只能以此爲余先生結論版，說幾句不能不說的話。 &lt;br /&gt;
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一是關於〈狼來了〉的說明。余先生究其原因，以爲他當時受大陸「文革」的震駭「&lt;a href="http://fifid.com/search/%E5%A3%93%E5%8A%9B?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;壓力&lt;/a&gt;」下，「&lt;a href="http://fifid.com/search/%E6%83%85%E7%B7%92%E5%A4%B1%E6%8E%A7?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;情緒失控&lt;/a&gt;」、「&lt;a href="http://fifid.com/search/%E6%8E%AA%E8%BE%AD%E7%B2%97%E7%B3%99?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;措辭粗糙&lt;/a&gt;」、「&lt;a href="http://fifid.com/search/%E8%AA%9E%E6%B0%A3%E6%B7%A9%E5%8E%B2?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;語氣淩厲&lt;/a&gt;」、「不像一個自由主義作家應有的修養」，「政治上的比附影射也引申過當」因此「&lt;a href="http://fifid.com/search/%E4%BB%A4%E4%BA%BA%E5%8F%8D%E6%84%9F?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;令人反感&lt;/a&gt;」，致授人以柄，「懷疑是呼應國民黨的什麽整肅運動」。&lt;br /&gt;
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&amp;nbsp;　　在〈狼來了！〉中，余光中先生在當時戒嚴環境中堅決咬住臺灣已出現「&lt;a href="http://fifid.com/search/%E5%B7%A5%E8%BE%B2%E5%85%B5%E6%96%87%E8%97%9D?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;工農兵文藝&lt;/a&gt;」，卻通篇指不出哪一個作家的哪一篇、哪一本作品是毛澤東在《&lt;a href="http://fifid.com/search/%E5%BB%B6%E5%AE%89%E6%96%87%E8%97%9D%E5%BA%A7%E8%AB%87?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;延安文藝座談&lt;/a&gt;》中定義的「工農兵文藝」，卻大段引用毛在《&lt;a href="http://fifid.com/search/%E5%BA%A7%E8%AB%87?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;座談&lt;/a&gt;》中的話。當時對鄉土文學界是一個政治上取人性命的、猙獰的誣陷。直到今天，余先生一定指不出哪一篇文章、作品是毛意義上的「工農兵文藝」。有資料指出，「（一九七八年一月）十九日早九時開會（指「&lt;a href="http://fifid.com/search/%E5%9C%8B%E8%BB%8D%E6%96%87%E8%97%9D%E5%A4%A7%E6%9C%83?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;國軍文藝大會&lt;/a&gt;」），青溪文學會（按：王昇領導下的軍中文藝宣傳機關，主辦此次「國軍文藝大會」）散發《&lt;a href="http://fifid.com/search/%E7%95%B6%E5%89%8D%E6%96%87%E8%97%9D%E5%95%8F%E9%A1%8C?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;當前文藝問題&lt;/a&gt;》小冊子&amp;hellip;&amp;hellip;攻擊鄉土派，但未指明該派倡『工農兵文藝』。」十分熟悉中共及三○年代左翼文學理論的在知識上反共的胡秋原、鄭學稼也公開爲鄉土文學辯誣、亟稱其與中共「工農兵文藝」無關。但在余先生的〈狼來了！〉和那「一封信」中，卻堅定主張臺灣有「工農兵文藝」。那「一封信」裏在援引英文左派文論，細加眉批之後，有這吒吒的質問：「如果這些不是工農兵之左傾言論，什麽才是？」&lt;br /&gt;
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&amp;nbsp;　　〈狼來了！〉有一個結論，說揭發不是「扣帽子」。「問題在頭。如果帽子合頭，叫『抓頭』&amp;hellip;&amp;hellip;」。這個「&lt;a href="http://fifid.com/search/%E6%8A%93?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;抓&lt;/a&gt;」字，寫得寒氣逼人。 &lt;br /&gt;
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這樣一篇文章，作爲他鬥爭的武器，寫得犀利、準確、「&lt;a href="http://fifid.com/search/%E6%B7%A9%E5%8E%B2?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;淩厲&lt;/a&gt;」地指向他被「&lt;a href="http://fifid.com/search/%E9%AC%BC%E9%AD%85?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;鬼魅&lt;/a&gt;」（余先生語）的心中的敵人，寫的「&lt;a href="http://fifid.com/search/%E5%A5%BD?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;好&lt;/a&gt;」，不是「&lt;a href="http://fifid.com/search/%E4%B8%8D%E5%A5%BD?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;不好&lt;/a&gt;」。餘說今日回顧，總的說，「&lt;a href="http://fifid.com/search/%E5%AF%AB%E7%9A%84%E4%B8%8D%E7%BE%8E?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;寫的不美&lt;/a&gt;」。這樣的文章如何寫得更「&lt;a href="http://fifid.com/search/%E7%BE%8E?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;美&lt;/a&gt;」？更溫柔、細緻？但不論怎麽寫，在那森冷的當時臺灣，依然是徐復觀先生所說的足以「&lt;a href="http://fifid.com/search/%E4%BD%BF%E4%BA%BA%E9%A0%AD%E8%90%BD%E5%9C%B0?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;使人頭落地&lt;/a&gt;」的「&lt;a href="http://fifid.com/search/%E8%A1%80%E6%BB%B4%E5%AD%90?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;血滴子&lt;/a&gt;」。&lt;br /&gt;
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&amp;nbsp;　　余先生說寫〈狼來了！〉純出於「&lt;a href="http://fifid.com/search/%E6%84%8F%E6%B0%A3?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;意氣&lt;/a&gt;」用事、「&lt;a href="http://fifid.com/search/%E7%99%BC%E7%A5%9E%E7%B6%93%E7%97%85?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;發神經病&lt;/a&gt;」、「&lt;a href="http://fifid.com/search/%E9%9D%9E%E4%BB%BB%E4%BD%95%E6%94%BF%E9%BB%A8%E6%89%80%E6%8C%87%E4%BD%BF?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;非任何政黨所指使&lt;/a&gt;」。 &lt;br /&gt;
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九○年代中葉，熟悉內情的朋友對我說，一九七八年六月的國軍文藝大會針對的是鄉土文學，會後就準備動手「抓頭」了。余先生否認文章爲了「呼應國民黨的什麽整肅運動」。余先生可以說我的朋友口說無憑（必要時只能在他日請人出來說明），但也可以研究一下下列的日程。國軍文藝大會是一個規模很大，由國防部統轄的「&lt;a href="http://fifid.com/search/%E9%9D%92%E6%BA%AA%E6%96%87%E5%AD%B8%E6%9C%83?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;青溪文學會&lt;/a&gt;」主辦的會議。參加會議的鄭學稼先生說他參加的是何志浩（總政戰部高官）主持的「&lt;a href="http://fifid.com/search/%E7%AC%AC%E5%8D%81%E4%BA%8C?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;第十二&lt;/a&gt;」分組，窺見規模之大。是個用來「&lt;a href="http://fifid.com/search/%E6%B8%85%E9%99%A4%E6%89%80%E8%AC%82%E3%80%8E%E9%84%89%E5%9C%9F%E6%96%87%E5%AD%B8%E6%B4%BE%E3%80%8F?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;清除所謂『鄉土文學派』&lt;/a&gt;」的會。籌備這麽大型、重要的會，有經驗的人知道至少須時半年以上。&lt;br /&gt;
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&amp;nbsp;　　一九七七年七月十五日，彭歌開始在他在某大報專欄《&lt;a href="http://fifid.com/search/%E4%B8%89%E4%B8%89%E8%8D%89?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;三三草&lt;/a&gt;》上寫〈&lt;a href="http://fifid.com/search/%E3%80%8C%E5%8D%A1%E7%88%BE%E8%AA%AA%E3%80%8D%E4%B9%8B%E9%A1%9E?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;「卡爾說」之類&lt;/a&gt;〉，要人警惕共党思想已偷渡臺灣；十六日，刊〈&lt;a href="http://fifid.com/search/%E6%BA%AB%E6%9F%94%E6%95%A6%E5%8E%9A%EF%BC%8C?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;溫柔敦厚，&lt;/a&gt;〉引杜甫詩倡不惜「&lt;a href="http://fifid.com/search/%E5%90%BE%E5%BB%AC%E7%8D%A8%E7%A0%B4?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;吾廬獨破&lt;/a&gt;」的「&lt;a href="http://fifid.com/search/%E6%84%9B?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;愛&lt;/a&gt;」的文學；二十二日刊〈&lt;a href="http://fifid.com/search/%E5%A0%A1%E5%A3%98%E5%85%A7%E9%83%A8?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;堡壘內部&lt;/a&gt;〉，引列寧語「&lt;a href="http://fifid.com/search/%E5%BE%9E%E5%A0%A1%E5%A3%98%E5%85%A7%E9%83%A8%E7%99%BC%E5%8B%95%E6%94%BB%E6%93%8A?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;從堡壘內部發動攻擊&lt;/a&gt;」喻鄉土文學之危險；二十四日，刊〈&lt;a href="http://fifid.com/search/%E5%82%85%E6%96%AF%E5%B9%B4%E8%AB%96%E6%87%B6?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;傅斯年論懶&lt;/a&gt;〉引傅言謂共党思想常「&lt;a href="http://fifid.com/search/%E4%B9%98%E8%99%9B%E8%80%8C%E5%85%A5?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;乘虛而入&lt;/a&gt;」，故除毒草切不可「&lt;a href="http://fifid.com/search/%E6%87%B6?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;懶&lt;/a&gt;」。二十七日，刊〈&lt;a href="http://fifid.com/search/%E5%B0%8D%E5%81%8F%E5%90%91%E7%9A%84%E8%AD%A6%E8%A6%BA?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;對偏向的警覺&lt;/a&gt;〉讚揚鄉土文學的「&lt;a href="http://fifid.com/search/%E5%81%8F%E5%90%91?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;偏向&lt;/a&gt;」同爲「&lt;a href="http://fifid.com/search/%E9%9D%92%E5%B9%B4%E4%BD%9C%E5%AE%B6?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;青年作家&lt;/a&gt;」銀正雄、孫慶余所察覺。至八月五日，刊〈&lt;a href="http://fifid.com/search/%E7%B5%B1%E6%88%B0%E7%9A%84%E4%B8%BB%E8%88%87%E5%BE%9E?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;統戰的主與從&lt;/a&gt;〉誣稱鄉土文學在鼓動「&lt;a href="http://fifid.com/search/%E5%9C%B0%E6%96%B9%E6%84%8F%E8%AD%98?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;地方意識&lt;/a&gt;」、「&lt;a href="http://fifid.com/search/%E7%9C%81%E7%B1%8D%E5%95%8F%E9%A1%8C?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;省籍問題&lt;/a&gt;」和「&lt;a href="http://fifid.com/search/%E7%A4%BE%E6%9C%83%E7%9F%9B%E7%9B%BE?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;社會矛盾&lt;/a&gt;」。六日，刊〈&lt;a href="http://fifid.com/search/%E5%8B%BF%E7%88%B2%E8%A6%AA%E8%80%85%E7%97%9B%E4%BB%87%E8%80%85%E5%BF%AB?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;勿爲親者痛仇者快&lt;/a&gt;〉，謂臺灣與所有社會不免有問題存在，但切勿渲染，免「&lt;a href="http://fifid.com/search/%E8%A6%AA%E8%80%85%E7%97%9B%E4%BB%87%E8%80%85%E5%BF%AB?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;親者痛仇者快&lt;/a&gt;」。　過十一天後的八月十七、十八、十九三天，國民黨所不曾有的長篇點名批判文章在一家報紙副刊連續全版赫然刊出彭歌永遠留在臺灣新文學史冊中的刀筆文章&amp;mdash;&amp;mdash;〈&lt;a href="http://fifid.com/search/%E4%B8%8D%E8%AB%87%E4%BA%BA%E6%80%A7%EF%BC%8C%E4%BD%95%E6%9C%89%E6%96%87%E5%AD%B8?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;不談人性，何有文學&lt;/a&gt;〉，指名檢查和控訴王拓、尉天驄和陳映真的文論思想。緊接著，余光中先生的〈狼來了！〉就在翌八月二十 日登場！而數月後的轉年一月十八日，國軍文藝大會就隆重登場了。&lt;br /&gt;
&amp;nbsp;　　只是憑著以上的日程，如果我傾向於相信這是一場有組織、有計劃、有工作配置的文學整肅運動，能說人們的「&lt;a href="http://fifid.com/search/%E6%87%B7%E7%96%91?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;懷疑&lt;/a&gt;」沒有根據嗎？ &lt;br /&gt;
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余先生說當年香港「&lt;a href="http://fifid.com/search/%E5%B7%A6%E5%88%8A?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;左刊&lt;/a&gt;」、「&lt;a href="http://fifid.com/search/%E5%B7%A6%E5%A0%B1?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;左報&lt;/a&gt;」對他的攻擊文字不下十萬字。圍剿鄉土文學的文字，光是「&lt;a href="http://fifid.com/search/%E9%9D%92%E6%96%87%E6%9C%83?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;青文會&lt;/a&gt;」的批判集、小冊子，合起來也近二十萬字。余先生當年在「&lt;a href="http://fifid.com/search/%E8%87%AA%E7%94%B1?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;自由&lt;/a&gt;」的香港感受到「&lt;a href="http://fifid.com/search/%E5%B7%A6%E6%B4%BE?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;左派&lt;/a&gt;」批判的「壓力」，能不知道彭歌的專欄、大批判、余先生的〈狼來了！〉和那「一封信」在極端反共戒嚴體制下給予臺灣鄉土作家的「壓力」嗎？不同的是，我們這幾個被指名的「&lt;a href="http://fifid.com/search/%E6%AC%BD%E7%8A%AF?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;欽犯&lt;/a&gt;」不曾發「&lt;a href="http://fifid.com/search/%E7%A5%9E%E7%B6%93?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;神經&lt;/a&gt;」，「意氣」用事，「情緒失控」，而是懷著被捕入獄的決心，在胡秋原先生、徐復觀先生、鄭學稼先生還有錢江潮諸先生仗義代辯下，各自寫文章自衛。這也說明余先生有條件鬧「&lt;a href="http://fifid.com/search/%E6%83%85%E7%B7%92?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;情緒&lt;/a&gt;」，發「神經」從香港寫文章，寫那「一封信」回臺灣打人棍子，而我們沒有。除了荒蔓的恐懼和義忿，一無所有。&lt;br /&gt;
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余先生在這篇對自己做結論的〈向歷史自首？〉中，關於〈狼來了！〉的反省，只有一句是有所反省意識的話：「&lt;a href="http://fifid.com/search/%E6%94%BF%E6%B2%BB%E4%B8%8A%E7%9A%84%E6%AF%94%E9%99%84%E5%BD%B1%E5%B0%84?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;政治上的比附影射&lt;/a&gt;」「&lt;a href="http://fifid.com/search/%E5%BC%95%E7%94%B3%E9%81%8E%E7%95%B6?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;引申過當&lt;/a&gt;」，相形之下「情緒失控」、「措辭粗糙」云云就顯得避重就輕，蒙混過關的味道。其實，在余先生對鍾鈴教授，在給我的私信中，都說過要爲〈&lt;a href="http://fifid.com/search/%E7%8B%BC?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;狼&lt;/a&gt;〉文「道歉」，明白說〈狼來了〉一文「對您造成很大的傷害，他要對您說對不起。」（鍾教授轉述）在第二封私信的末尾也說「請接受我最大的歉意、善意、誠意&amp;hellip;&amp;hellip;」我接讀之後，真心爲他高興，回信鼓勵他勇敢面對、表態，解除自己的枷鎖，則我一定寫文章表示讚賞和支援。不料這麽好的話，在〈向歷史自首？〉中全不見了，實在令人很爲他惋惜、扼腕。&lt;br /&gt;
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&amp;nbsp;　　二是他有沒有直接將那封「&lt;a href="http://fifid.com/search/%E4%BF%A1?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;信&lt;/a&gt;」直接寄給王昇，鄭學稼如何告訴我那「一封信」是由余先生直接寄去給王的問題。 &lt;br /&gt;
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和余先生一樣，「隔了三十年，當時細節有些模糊」。一定要求細節，不妨從既有材料拼圖吧。&lt;br /&gt;
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&amp;nbsp;　　（1）余先生說，那「一封信」只有薄薄的兩張紙，性質上只是與朋友共用資料。但陳芳明卻說，「我收到余光中寄自香港的一封長信（即不僅僅是「&lt;a href="http://fifid.com/search/%E8%B3%87%E6%96%99?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;資料&lt;/a&gt;」），並附寄了幾份影印文件。其中有一份陳映真的文章，也有一份馬克思文字的英譯。余光中特別以紅筆加上眉批，並用中英對照的考據法，指出陳映真引述馬克思之處&amp;hellip;&amp;hellip;」這樣連「&lt;a href="http://fifid.com/search/%E9%95%B7%E4%BF%A1?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;長信&lt;/a&gt;」加影印文章、英譯稿，怕就不只「&lt;a href="http://fifid.com/search/%E5%85%A9%E5%BC%B5%E8%96%84%E7%B4%99%E4%BA%86?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;兩張薄紙了&lt;/a&gt;」。&lt;br /&gt;
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&amp;nbsp;　　（2）依據手上的資料，余先生的影印件，是我給當初尚不知其台獨傾向（所謂「&lt;a href="http://fifid.com/search/%E5%8F%B0%E7%8D%A8%E5%B7%A6%E6%B4%BE?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;台獨左派&lt;/a&gt;」）畫評家Ｓ的、以書信體寫的，他對歐西美術之資本主義商品性，藝術與社會、階級關係，藝術表現勞動人民和其生活之論的書作序的文章。文章中我大量引用Ｓ原書的文本，加以揚揄、引伸，頗驚對藝術社會學與我相同之觀點。則余先生所揭發的，就不止是我一個人，連帶Ｓ也牽連了。資料還說，余先生也扯上了當時台大外文系的Ｙ教授的某一篇文章。而且，如前文所說，在經過一番比對、「&lt;a href="http://fifid.com/search/%E8%80%83%E6%93%9A?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;考據&lt;/a&gt;」後，那「一封信」的結尾還　然逼問收件人：「如果這不是工農兵之左傾言論，什麽才是？」&lt;br /&gt;
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&amp;nbsp;　　如果有人如我依上述資料遲疑于相信余先生所說那信、那文件的性質只是朋友間漠然地交換資料，應該是可以理解吧。&lt;br /&gt;
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不錯，我的資料上明說，「最後，他（余）主張『&lt;a href="http://fifid.com/search/%E6%80%9D%E6%83%B3%E5%95%8F%E9%A1%8C?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;思想問題&lt;/a&gt;』仍須以論戰解決，千萬不宜有政治行動，以免引起更大的誤會。」&lt;br /&gt;
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&amp;nbsp;　　但人們會問，余先生自己爲什麽不以論戰解決，而將責問「如果這不是工農兵的左傾言論，什麽才是？」的材料寄給多人（鍾鈴教授說余先生把文件、信、資料「寄去給三、四位他在臺灣的朋友」，如果加上在美國的陳芳明，就是四、五位了）。〈狼來了！〉是準備討論的文章嗎？當時的臺灣有條件「&lt;a href="http://fifid.com/search/%E4%BB%A5%E8%AB%96%E6%88%B0%E8%A7%A3%E6%B1%BA%E5%97%8E?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;以論戰解決嗎&lt;/a&gt;」？而收件人除了手中有權力的人，誰能決定用「&lt;a href="http://fifid.com/search/%E8%BE%AF%E8%AB%96?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;辯論&lt;/a&gt;」還是「&lt;a href="http://fifid.com/search/%E6%94%BF%E6%B2%BB%E6%89%8B%E6%AE%B5?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;政治手段&lt;/a&gt;」處理？&lt;br /&gt;
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&amp;nbsp;　　余先生慎重地介紹了彭歌的輝煌履歷、職稱和「&lt;a href="http://fifid.com/search/%E6%96%87%E5%AD%B8%E6%88%90%E5%B0%B1?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;文學成就&lt;/a&gt;」，但現實上這樣一個人也照樣可以先寫一個多月充滿陰謀論專欄之後，在七七年八月拋出連載三天的點名政治指控的文章。「&lt;a href="http://fifid.com/search/%E8%87%AA%E7%94%B1%E4%B8%BB%E7%BE%A9%E7%9F%A5%E8%AD%98%E4%BB%BD%E5%AD%90?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;自由主義知識份子&lt;/a&gt;」的余先生、彭歌、董保中、孫柏東都加入了棍打鄉土文學的行列，文章俱在。余先生把那樣「一封長信」和驚人的材料寄給了平時竟「&lt;a href="http://fifid.com/search/%E5%BE%80%E4%BE%86%E4%B8%8D%E5%A4%9A?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;往來不多&lt;/a&gt;」的彭歌，這又是爲什麽？怎麽又「&lt;a href="http://fifid.com/search/%E6%9C%AA%E6%83%B3%E5%88%B0%E6%9C%83%E6%9C%89%E4%BB%80%E9%BA%BD%E5%BE%8C%E6%9E%9C%EF%BC%9F?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;未想到會有什麽後果？&lt;/a&gt;」&lt;br /&gt;
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&amp;nbsp;　　我又憑什麽斷定「信」是余先生直接寄王昇，最大根據是九○年代中期一位朋友（平時皆以「&lt;a href="http://fifid.com/search/%E8%80%81%E5%B8%AB?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;老師&lt;/a&gt;」稱胡秋原先生和徐復觀先生）在一次閒談中，說起余先生把材料給了王昇，王昇不知「信」中考證陳映真有的「&lt;a href="http://fifid.com/search/%E6%96%B0%E9%A6%AC?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;新馬&lt;/a&gt;」思想爲何物，就教于鄭先生，鄭先生不以余先生的說法爲然，勸王昇不可興筆禍，並公開獎勵有成就的鄉土作家。結果是沒有筆禍，但也沒有獎勵。事實上，當年在臺灣我還無緣讀馬克思的《&lt;a href="http://fifid.com/search/%E7%B6%93%E6%BF%9F%E5%AD%B8%26mdash%3B%E5%93%B2%E5%AD%B8%E6%89%8B%E7%A8%BF?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;經濟學&amp;mdash;哲學手稿&lt;/a&gt;》（一八四四），不懂「&lt;a href="http://fifid.com/search/%E9%9D%92%E5%B9%B4%E9%A6%AC%E5%85%8B%E6%80%9D?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;青年馬克思&lt;/a&gt;」。&lt;br /&gt;
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&amp;nbsp;　　但這個故事也是經歷幾年拼出來的。&lt;br /&gt;
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&amp;nbsp;　　一九七七年鄉土論爭因彭歌長文爆發，同年，有〈狼來了〉，後來知道也有那「信」。&lt;br /&gt;
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&amp;nbsp;　　一九七八年元月開國軍文藝大會。迨一九八五、六年左右，鄭先生閒話中告訴我「&lt;a href="http://fifid.com/search/%E6%9C%89%E4%BA%BA?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;有人&lt;/a&gt;」曾在鄉土文學論爭中密告我有思想問題。余先生問何以不問清楚？這種事，在臺灣當時條件下，說的人不明說，作爲晚輩就當知道人家不想、不便、或不必說，因他意在叫我行文說話謹慎，不在透漏密告者。這是那時代的「&lt;a href="http://fifid.com/search/%E8%A6%8F%E7%9F%A9?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;規矩&lt;/a&gt;」。一九八九年，陳芳明《鞭傷之島》出版，我未注意，後來只聽說陳芳明在書中罵了我和余光中，我也不以爲意，只覺得何以陳芳明會把我與余先生扯在一塊罵。一九九○年中，上面提到的那個朋友告訴我當年王昇手中有余先生「信」，並告訴我鄭先生有一本書談及此事，我這才把鄭先生書，和《鞭傷之島》先後找到，拼出了整個圖像始末。&lt;br /&gt;
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&amp;nbsp;　　當然，關鍵之一，是鄭先生學生的我的朋友。余先生一定要追究，只好請他出面說明。這次我給余先生寫信前，特別打電話問他一次，他的回答與十年前一致的。&lt;br /&gt;
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&amp;nbsp;　　我說有沒有「&lt;a href="http://fifid.com/search/%E7%9B%B4%E6%8E%A5?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;直接&lt;/a&gt;」把信「&lt;a href="http://fifid.com/search/%E5%AF%84%E7%B5%A6%E7%8E%8B%E6%98%87?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;寄給王昇&lt;/a&gt;」不重要，是因爲從「信」和材料內容推定的性質；鄭先生告訴我有人告我密在先，漸漸聽到王先生手中有「信」來找鄭先生查證，又從《&lt;a href="http://fifid.com/search/%E9%9E%AD%E5%82%B7?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;鞭傷&lt;/a&gt;》中知道其內容，自己斷定鄭先生當年口頭勸告時所指就是余先生。我有這懷疑，應該說是「&lt;a href="http://fifid.com/search/%E5%90%88%E7%90%86?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;合理&lt;/a&gt;」的懷疑。「信」或由余先生直接寄王昇，或寄給王昇身邊的人，可能目的和結果是一樣的。&lt;br /&gt;
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&amp;nbsp;　　&lt;br /&gt;
四、爲余先生深爲惋惜&lt;br /&gt;
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&amp;nbsp;　　&lt;font color="#000080"&gt;在那個漫長的戒嚴時代，有多少外省人和本省人被迫或自主地參與了爲「&lt;a href="http://fifid.com/search/%E5%9C%8B%E5%AE%B6%E5%AE%89%E5%85%A8?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;國家安全&lt;/a&gt;」爲大義名份的黑暗的體系。一個那麽大的體系，如果沒有龐大的「&lt;a href="http://fifid.com/search/%E5%85%B1%E7%8A%AF%E6%A7%8B%E9%80%A0?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;共犯構造&lt;/a&gt;」，是不可能運行的。但歷史不斷發展前進，臺灣「&lt;a href="http://fifid.com/search/%E6%B0%91%E4%B8%BB%E5%8C%96?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;民主化&lt;/a&gt;」後，對那荒蕪時代心靈和社會的傷口，一直沒有人自覺地做爲課題加以清理。二○○○年後，我幾篇拙劣的小說處理的正是這歷史的傷口。著名的日本文學評論家尾崎秀樹就早在六○年代呼喚日本對殖民地文學和作家造成的傷害，深刻反省。&lt;br /&gt;
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&amp;nbsp;　　我從別人引述陳漱渝先生、從鍾玲教授和余先生的來信中，知道余先生是有悔意的，我因此爲余先生高興。沒有料到的是，余先生最終以略帶嘲諷的標題《向歷史自首？》的問號中，拒絕了自己爲自己過去的不是、錯誤憂傷「道歉」的，內心美善的呼喚，緊抓著有沒有直接向王昇「&lt;a href="http://fifid.com/search/%E5%91%8A%E5%AF%86?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;告密&lt;/a&gt;」的細節「&lt;a href="http://fifid.com/search/%E5%8F%8D%E6%92%A5?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;反撥&lt;/a&gt;」。這使我讀《向歷史自首？》後感到寂寞、悵然和惋惜，久久不能釋懷，反省是否我堵塞了余先生自我反省的動念？&lt;br /&gt;
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&amp;nbsp;　　從大局看，在臺灣的民族派文學界的溝通、理解和團結，當著島內外反民族文論倡狂的形勢下，實爲重中之重。我真誠祈望我和余先生還有互相以坦誠與善意相談的可能與機會。《向歷史自首？》中，余先生對第一問的回答，令人激賞，二問以後讀來就覺得余先生沒有把完全可以寫好的文章寫好的遺憾與悵然。 &lt;br /&gt;
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我會刊出我致余先生的二信，以示我自始對余先生的誠意與善意。與這封信一樣，除非被動，我不會主動公開任何擴大誤解的資料。拳拳此心，盼望余先生和兩岸關心的文化界能瞭解。但自我反省自有一個艱難、漫長的過程。我和廣大愛護余先生的大陸文壇應該等待，不讓事情往絕對性矛盾發展。我有什麽差錯，也願接受嚴格批評。&lt;br /&gt;
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二○○四年九月十四日&lt;br /&gt;
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&lt;a href="http://tiebacommit.baidu.com/f?kz=11996954%EF%BC%89" target="_blank"&gt;&lt;strong&gt;&lt;br /&gt;
向歷史自首?&amp;mdash;&amp;mdash;溽暑答客四問&lt;/strong&gt;&lt;/a&gt;&lt;br /&gt;
2004年09月21日16:35:26　金羊網--羊城晚報　余光中&lt;br /&gt;
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客自大陸來，頗聞大陸事，說有些事情他不很明白，要問問我。他說：「聽說近來有什麼『&lt;a href="http://fifid.com/search/%E4%BD%99%E5%85%89%E4%B8%AD%E7%86%B1?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;余光中熱&lt;/a&gt;』，有些人認為很不正常，竟有此種怪熱，憑什麼呢？」我說：&lt;br /&gt;
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哪有什麼「余光中熱」呢？有之，無非是中國熱，中文熱。我能散發的這一點點熱，不過是中文熱的一點餘溫、餘光。我的詩文不過是女媧煉石的餘溫，夸父追日的餘光。我就像一小撮宇宙塵，只有在回歸太陽時才反射出彗星的光芒，離開太陽就暗淡了。&lt;br /&gt;
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客說：「聽說你最近在大陸出『&lt;a href="http://fifid.com/search/%E4%BD%99%E5%85%89%E4%B8%AD%E9%9B%86?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;余光中集&lt;/a&gt;』，把早年某些引起爭議的文章，例如1977年那篇《狼來了》，統統抽掉了，有隱瞞讀者之嫌，是嗎？」我說：&lt;br /&gt;
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這種例子很少。任何作家出文集，都不免有些刪除。如果凡發表的都收進去，恐怕就會變垃圾箱了。《狼來了》一篇是壞文章，所以如此，要把它放回歷史的背景上去，才能明白。1977年，大陸剛經歷「文革」，喘息未完。在那場浩劫中受害的知識分子難計其數。我於1974年去香港教書，對「文革」餘悸並不陌生。當時我班上的學生，家在廣東，常向我親述「文革」真相。&lt;br /&gt;
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去港不久，因為我在詩中批評「文革」，招來「左報」、「左刊」的圍剿，攻擊我的文字當在十萬字以上，致我的心情相當「&lt;a href="http://fifid.com/search/%E5%AD%A4%E6%86%A4?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;孤憤&lt;/a&gt;」。某報就曾刊過一首長詩，有這麼一句：「工人一錘，你的『&lt;a href="http://fifid.com/search/%E7%99%BD%E7%8E%89%E8%8B%A6%E7%93%9C?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;白玉苦瓜&lt;/a&gt;』就敲得粉碎！」20世紀80年代之末，香港「左派」報刊改變了不少，其領袖人物、博學而兼擅詩書的羅孚先生，在 20世紀90年代一次研討會上，曾公開向我（與不在場的夏志清、顏元叔）表達歉意。&lt;br /&gt;
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在「文革」震駭的壓力下，心情沉重，對一般左傾言論都很敏感。對茫茫九州鄉思愈深，而對現實的恐懼愈強，其間的矛盾可見於我的詩句「&lt;a href="http://fifid.com/search/%E6%82%A3%E4%BA%86%E6%A2%85%E6%AF%92%E4%BE%9D%E8%88%8A%E6%98%AF%E6%AF%8D%E8%A6%AA?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;患了梅毒依舊是母親&lt;/a&gt;」。海外的「左派」讀到此句，只見「&lt;a href="http://fifid.com/search/%E6%A2%85%E6%AF%92?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;梅毒&lt;/a&gt;」而不見「&lt;a href="http://fifid.com/search/%E6%AF%8D%E8%A6%AA?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;母親&lt;/a&gt;」，常斥為「&lt;a href="http://fifid.com/search/%E5%8F%8D%E8%8F%AF?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;反華&lt;/a&gt;」。&lt;br /&gt;
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這就是當年我在香港寫《狼》文的心情，但是不能因此就說，那篇文章應該那樣寫。當時情緒失控，不但措辭粗糙，而且語氣凌厲，不像一個自由主義作家應有的修養。政治上的比附影射也引申過當，令人反感，也難怪授人以柄，懷疑是呼應國民黨的什麼整肅運動。&lt;br /&gt;
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我從未參加過任何政黨，包括國民黨，有時出席某些官方會議，也不過「&lt;a href="http://fifid.com/search/%E8%A1%8C%E7%A6%AE%E5%A6%82%E5%84%80?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;行禮如儀&lt;/a&gt;」。在那時代，大陸的文人難道能不參加各種集會嗎？陳映真先生1987年對四川作協介紹台灣文壇，曾說我是「&lt;a href="http://fifid.com/search/%E5%AE%98%E6%96%B9%E8%A9%A9%E4%BA%BA?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;官方詩人&lt;/a&gt;」；更有人說，我的地位是國民黨捧起來的。這話恐怕經不起分析吧？無論在學府或文壇，我都是靠自己努力的，那麼多的同事、學生、編輯、讀者、聽眾，能容你騙嗎？香港中文大學聘我去任教，一去十年。大陸20所高校請我去講學，20家出版社為我出書。這些，都由得國民黨來安排嗎？南京大學、復旦大學、山東大學、吉林大學、岳麓書院&amp;hellip;&amp;hellip;犯得著請一位國民黨的官方詩人去講學嗎？《狼》寫得不對，但都是我自己的意氣，自己 發的神經病，不是任何政黨所能支使。&lt;br /&gt;
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《狼》文發表以後，引起許多爭議，大多是負面的。許多朋友，例如齊邦媛、張曉風，都曾婉言向我諷諫。晚輩如陳芳明，反應就比較強烈。南京的評論名家陳遼，2000年在《&lt;a href="http://fifid.com/search/%E4%BD%99%E5%85%89%E4%B8%AD%E4%B9%9F%E6%98%AF%E8%A9%95%E8%AB%96%E5%A4%A7%E5%AE%B6?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;余光中也是評論大家&lt;/a&gt;》一文中，也指出此文的不當。有這麼多愛護我的人都不以為然，我當年被心魔所魅是顯而易見的。&lt;br /&gt;
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不過，我的文集中不收入此文，主要的原因是嫌它「&lt;a href="http://fifid.com/search/%E4%B8%8D%E7%BE%8E?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;不美&lt;/a&gt;」。我在前半生捲入過多次論戰，大半都能據理力爭，後來，對方往往「&lt;a href="http://fifid.com/search/%E5%8C%96%E6%95%B5%E7%82%BA%E5%8F%8B?src=yb_qsal&amp;utm_source=yb_qsal&amp;utm_medium=link&amp;utm_content=rsspost" target="_blank"&gt;化敵為友&lt;/a&gt;」，例如與我爭論現代詩的言曦、紀弦與洛夫，與我有「&lt;a href="http://fifid.com/search/%E6%