【國際學者講座】美國杜克大學Carlos Rojas(羅鵬)教授、Eileen C. Chow
傳統與離散：從魯迅到黃錦樹
時間：4/22 （一）14:10 - 15:30
地點：人文大樓7樓712教室
講者：Carlos Rojas
（羅鵬／美國杜克大學亞洲與中東研究學系教授）
題目：「安息吧，同學」──兩個世代，一首歌
時間：4/22（一）15:40 - 17:00
地點：人文大樓7樓712教室
講者：Eileen C. Chow
（周成蔭／美國杜克大學亞洲與中東研究學系副教授）
主持人：朱惠足（中興大學台文所特聘教授兼所長）
主辦單位：中興大學台灣文學與跨國文化研究所
主辦單位：中興大學台灣文學與跨國文化研究所
“Rest, Martyred Classmates” was composed frenetically through the night by the young poet Jin Sha and her musician friend Chun Hai, in time for the January 13, 1946 public Shanghai commemoration of martyred students in the “12.21” brutal KMT suppression of Kunming student and faculty protestors. An elegy written for a specific time and place and occasion – “Rest, Martyred Classmates” nevertheless finds its way through several other significant historical moments in the ensuing decades, and with each reiteration accrues as well as alters in its valence. Following the thread of its travels through the 1940s to the contemporary moment, and its various reappearances as PRC liberation anthem, “White Terror” Taiwan-period underground resistance musical handshake, soundtrack to martyrdom in Hou Hsiao-Hsien’s films of the 1980s and 1990s, and now resurfacing as Republican nostalgia in contemporary Shanghai - I ask: what is gained, and what remains? “Songs connect, collect, and bring together. Even when not being sung they are attendant assembly-points,” says John Berger. “Rest, Martyred Classmates” remains stubbornly in the ear through multiple seasons and opposing ideological winds in the second half of China’s long twentieth century, and this paper explores the trace of the original voicing, and the stories that a song might carry within it, throughout its travels.
