華文大眾文化中的拉子身影——系列演講av天堂网
主講东说念主：馬嘉蘭 Fran Martin（澳洲墨爾本大學）
Dr Fran Martin (馬嘉蘭) is Lecturer in Cultural Studies at The University of Melbourne， Australia. She has published widely on media and popular culture in contemporary Taiwan， and is author of Situating Sexualities: Queer Representation in Taiwanese Fiction， Film and Public Culture (Hong Kong University Press， 2003; currently being translated into Chinese)， translator of Angelwings: Contemporary Queer Fiction from Taiwan (Hawai』i University Press， 2003)， and co-editor with Chris Berry and Audrey Yue of Mobile Cultures: New Media and Queer Asia (Duke University Press， 2003). av天堂网 Her current research project， on which this series of papers is based， investigates lesbian representation in the transnational Chinese popular cultures that span Hong Kong， Taiwan and the People』s Republic of China.
主辦單位：
臺灣聯合大學系統文化研究跨校學程
中央大學英好意思語文學系
交通大學社會與文化研究所
清華大學亞太／文化研究室
萝莉
演講資訊聯絡东说念主：
中央—陳采瑛tychen@cc.ncu.edu.tw
交大—林郁曄yylin@mail.nctu.edu.tw
清大—蘇淑冠apcs@my.nthu.edu.tw
第一場：
Backward Glances: Chinese Popular Cultures and the Lesbian Imaginary
在成為妳的回憶之前：汉文大眾文化中的女同性戀念念像
時間：2005年3月29日10：30
地點：中央大學文學院大講堂
主辦單位：中央大學英好意思語文學系
相較於歐好意思常以視覺（幽靈致使隱形）來再現女同性戀，馬嘉蘭博士認為在汉文大眾文化裡，卻所以時間（回憶）來隱喻女女之間的關係。
This paper proposed that the dominant modern Chinese mode of lesbian representation has been analeptic: loving relations between women have been represented as occupying a past time， existing in the present strictly in the form of memory. The most influential theory of Western lesbian representation proposes that in Euro-American modernity， the lesbian has been represented as ghostly or invisible， following a visual metaphor. In contrast， I argue that the dominant metaphor in modern Chinese representations of lesbian relations has been a temporal one: in a majority of mainstream Chinese literary， filmic and other cultural production since the early twentieth century， loving relations between women have been represented as temporally anterior to the narrative present. More specifically， I argued that representations of this figure have drawn on the affective， narrative and generic structures of heterosexual tragic romance (tragic because ultimately unfulfilled， with the lovers being separated by social forces beyond their control). To illustrate this argument the paper discussed literary texts including Lu Yin』s《麗石的日記》 (1923) and Chu T』ien-hsin』s 《浪淘沙》 – texts which I proposed illustrate that the memorial mode has critical， as well as simply regulatory， functions.
第二場：
Tomboy Melodrama and Schoolgirl Romance: A Mass-cultural Queer Love Story
T世俗劇與女學生羅曼史：一則大眾文化式的酷兒愛情故事
時間：2005年4月20日14：00—17:00
地點：交通大學东说念主社二館106研討室
主辦單位：交通大學社會與文化研究所
在這次演講中，馬嘉蘭博士主要處理的是在現代汉文大眾文化中，T翰墨的再現以及T的厚谊結構和敘事是怎样被呈現
While the first paper in this series focussed on the representation of the normatively feminine， same-sex attracted young woman in selected modern Chinese literary texts， this paper focuses on modern Chinese mass-cultural representations of the lesbian tomboy (T). A central question that I will address in this paper is: what has been the most common mode through which the tomboy has been represented; which kinds of affective， narrative and generic structures has her representation tended to draw upon? How， if at all， do these forms of representation differ from those that structure the cultural appearance of the conventionally feminine 「memorial lesbian，」 and what do such differences reflect about the ideological structuration of both gender and sexuality in this context? My main proposal in response to the first of these questions will be that in popular representations since the 1970s， the figure of the tomboy has tended to be represented in a melodramatic mode. I am especially interested in the way in which the 「T texts」 I will discuss draw upon the affective， narrative and generic structures of melodrama defined as a mode that is centrally concerned with 「moral legibility」 (in Linda Williams』 phrase) and the representation suffering virtue. The paper first attempts to flesh out a theory of modern and contemporary Chinese tomboy representation by means of three texts: Yu Dafu』s story 《她是一個弱女子》 (1932)， Xuan Xiaofo』s novel 《圓除外》 (1976) and TTV』s television adaptation of Du Xiulan』s novel， 《逆女》 (2000). The final part of the paper turns to two recent Public Television Service telemovies， 《童女之舞》 and 《那年夏天的浪聲》 (2002)， and tries to read these schoolgirl-romance films in dialogue with， or as a kind of symbolic response to， the mode of tomboy representation that I outline in the first part of the paper.
第三場：
Critical presentism: New Chinese Lesbian Cinema
過去過去一直來：新華文拉子電影
時間：2005年5月13日12：00—14:00
地點：清華大學东说念主文社會科學院东说念主社院C310會議室
主辦單位：清華大學亞太／文化研究室
協辦單位：清華大學性別與社會研究室
藉由《本年夏天》與《蝴蝶》等極具女同道觀點的影像再現，馬嘉蘭博士將論證這些電影挑戰並且打破了既往以回憶作為女同道敘事的結構窘境。
This paper focuses on the rise of Chinese lesbian film and video since the 1990s. Although recent research suggests that older genres of Chinese-language cinema such as the 黃梅opera film have enabled modes of lesbian and queer spectatorial pleasure in the past， it is only relatively recently that the lesbian subject has begun to be treated directly and seriously by young directors. This paper begins with a brief survey of recent Chinese lesbian-themed films before moving on to focus more closely on discussion of two recent films: 《本年夏天》(Li Yu， China， 2001––the first ever lesbian-themed feature film to come out of the People』s Republic)， and 《蝴蝶》(Yan Yan Mak， Hong Kong， 2004). Influential analyses of American film， both during and after the Production Code era， have presumed as central a visual logic of lesbian representation (ie: visible vs. invisible lesbians; voyeuristic vs. anti-voyeuristic images). In contrast， in the context of the broad cultural dominance of the memorial mode in modern Chinese lesbian representation， this chapter demonstrates the importance of asking questions about temporal logic in the Chinese-language films under discussion. This focus reveals that these recent films––made at a time when organised lesbian movements had been active in Hong Kong and Taiwan for around a decade and were beginning to emerge in mainland China––challenge the dominant construction of lesbianism as a memorial condition. I argue that these later films mark a radical departure in contemporary Chinese lesbian representation insofar as each is concerned with imagining the possibility of loving relations between women in the present and the future. In particular， I propose that these films are marked throughout––at the level of both style and narrative––by what I term their critical presentism: an attempt to wrest the lesbian topic from its habitual relegation to pastness and memory， and materialize her presence in the here-and-now.
