艾略特在歐洲：文化位移，遭逢，與迻譯

Abstract

本專題研究計畫為期三年，旨在探討艾略特如何透過文化位移、文\r\n化遭逢、文化迻譯等觀念，重塑其文化歐洲。本人以為，艾略特藉\r\n由越界異鄉人與其隨之而來的文化迻譯變成他者的雙重媒介運作\r\n，闡揚他理想中之虛擬歐洲。第一年之研究，主要側重於艾略特的\r\n早期詩作，例如他在1910-1920期間所寫之法文詩與其他英文詩（例\r\n如 1918-1919所寫就之〈帶著旅遊指南的波爾班克與帶著雪茄布雷\r\n斯頓〉）（“Burbank with a Baedeker: Bleistein with a\r\nCigar”）。舉凡旅行/居留、書寫/迻譯、身份認同/居間性等糾纏\r\n牽惹之議題，皆載浮載沈於詩文行間，不若艾略特後期作品之沈澱\r\n潛藏。但見不同之旅人，如流亡者、離散者、探索者、旅行者、或\r\n觀光客，離家動身，行旅往來於歐洲、東方、非洲、義大利、以及\r\n各個不同之他鄉異邦；他們各自在其虛擬之歐洲境遇中，書寫著旅\r\n行之軌跡、遭逢、迻譯、以及身份認同之權術策略。第二年之研究\r\n以艾略特之現代/後現代力作《荒原》與《四首四重奏》為主，旨在\r\n彰顯其作品中之居間性、混雜性、超文本漫遊性、與轉造性。第三\r\n年之研究將以艾略特的兩部詩劇為主軸：《家庭團聚》與《政治元\r\n老》將以「流亡者歸來」與艾略特式之「彷彿哲學」模式來探討之\r\n，舉凡國族的、社群的、甚至文本之境內/境外的遭逢與迻譯，都在\r\n艾略特的文化歐洲之繪製行旅圖中，見證了其虛擬生成本質。

This is a three-year project which aims to explore T. S.\r\nEliot’s reconceptualization of a cultural Europe via the\r\nconcepts of cultural movement, displacement, and\r\ntranslation. I propose that Eliot expounds his ideal of a\r\nvirtual Europe via a dual intermediating concern with a\r\ncross-cultural stranger and the subsequent cultural\r\ntranslation of becoming other. In the first year, I will\r\nchoose to focus on Eliot’s early poetry because the\r\nintertwined issues of traveling/dwelling,\r\nwriting/translation, identity/between-ness are closer to\r\nthe surface and less resolved there than in his later work.\r\nDifferent voyagers such as exiles, diaspora, explorers,\r\ntravelers, and tourists set out on the road and make their\r\njourneys to Europe, the Orient, Africa, Italy, everywhere,\r\nelsewhere, and nowhere to write on and about traveling,\r\ntrajectory, encounter, and translation, as well as to write\r\nwith and within the identity politics of the contested\r\ndomain of virtual Europe. In the second year, this study\r\nwill investigate The Waste Land (1922) and Four Quartets\r\n(1935-1942), which are taken by critics as the chef\r\nd’oeuvre of (post)modernism, the supreme (post)modernist\r\nicon. The third year will deal with Eliot’s two plays: The\r\nFamily Reunion (1939) will offer a study on “exile’s\r\nreturn,” while Eliot’s last play The Elder Statesman\r\n(1958) completes the literary odyssey of his expatriates