| dc.contributor | 英文系 | |
| dc.creator (作者) | 邱彥彬 | |
| dc.date (日期) | 2018-05 | |
| dc.date.accessioned | 8-Jul-2026 14:21:37 (UTC+8) | - |
| dc.date.available | 8-Jul-2026 14:21:37 (UTC+8) | - |
| dc.date.issued (上傳時間) | 8-Jul-2026 14:21:37 (UTC+8) | - |
| dc.identifier.uri (URI) | https://ah.lib.nccu.edu.tw/item?item_id=183248 | - |
| dc.description.abstract (摘要) | 本三年期研究計劃的問題意識主要是從「虛無派」（the nihilist）與「肯定派」（the affirmative）的結構性齟齬出發，以達巴須（Hamid Dabashi）與那菲西（Azar Nafisi）之間已然上升至「文明衝突」（clash of civilizations）高度的爭辯為思考對象，嘗試深入達巴須的反帝話語，從中挖掘出潛藏在肯定派的話語體系內部言而不明的問題叢結，從中打開一條反思「虛無派」人權話語的思想進路。這麼做，除了試圖藉以解開虛無派與肯定派之間的死結、防堵類似「文明衝突」之類的主客觀暴力繼續充當兩者的中介之外，也想透過對《在德黑蘭閱讀羅莉塔》（Reading Lolita in Tehran）的批判性閱讀，重新思考革命事件與人權話語之間相互構成的積極關係。在方法論上，本三年期研究計劃主要倚賴晚期傅柯（Michel Foucault）關於「自我技藝」（technology of the self）的論述，嘗試將伊朗革命與那菲西念茲在茲的「反革命」的「生活格調」（lifestyle）視為兩種不同模式的自我技藝與主體形構，據以解釋那菲西的人權話語失卻普遍性的結構性缺陷。而在處理那菲西的人權話語的部份，除了晚期傅柯的理論之外，本人也擬引入阿岡本（Giorgio Agamben）有關「主權」（sovereignty）的說法與帕索里尼（Pier Paolo Pasolini）搭配傅柯的自我技藝說以雙重的視角批判檢視那菲西內在於歷史性的人權論述，並且試圖從中開出一個得以與主權的拓樸結構斷離的自我技藝模式，以期作為一套具備普遍性的人權話語的理論基礎。 | |
| dc.description.abstract (摘要) | This three-year research project is prompted by the Hamid Dabashi's scathing comments on Azar Nafisi's Reading Lolita in Tehran (2003). The popularity of Nafisi's memoir among American readers, as Dabashi alleges, testifies to the fact that the "comprador intellectuals" like Nafisi have been much in demand as the "native informers" in the wake of 9/11, whose secret mission is to provide "emotive" assistance to the empire-building project of the Bush administration by their biased exposure of human rights abuses in the Islamic world. While having a legitimate ideological critique intensified to the illegitimate point of "civilizational clash," Hamid's allegations also err in leaving Nafisi's problematical human rights discourse uninterrogated. By bringing in Michel Foucault's idea of "technology of the self," this project seeks to confront Nafisi's human rights discourse head-on, explaining why Nafisi's rebellious efforts to aestheticize her "counterrevolutionary" "lifestyle" only end up in compromising the universalism of human rights. Human rights are shriveled up as it were, vanishing into a particular form of life--"our human rights," "our Lolita," "our moment of pause"--in Reading Lolita in Tehran. In order the better to address Nafisi's particularism, I will incorporate into discussion Pier Paolo Pasolini's screenplay Saint Paul and Giorgio Agamben's critique of the humanitarianism, in the hope that we may create a new set of self-technologies to open up the possibility of a human right discourse disconnecting from the topological structure of sovereignty, of "our" sovereignty. | |
| dc.format.extent | 116 bytes | - |
| dc.format.mimetype | text/html | - |
| dc.relation (關聯) | 科技部, MOST105-2410-H004-102, 105.08-106.07 | |
| dc.subject (關鍵詞) | 達巴須; 那菲西; 《在德黑蘭閱讀羅莉塔》; 傅柯（Michel Foucault）; 自我技藝（technology of the self）; 阿岡本（Giorgio Agamben）; 帕索里尼; 伊朗革命; 人權 | |
| dc.subject (關鍵詞) | Hamid Dabashi; Azar Nafisi; Reading Lolita in Tehran; Michel Foucault; Technology of the self; Giorgio Agamben; Pier Paolo Pasolini; the Iranian Revolution; Human Rights | |
| dc.title (題名) | 「我們暫歇的片刻」：《在德黑蘭閱讀羅麗塔》中的革命、自我技藝與人權 | |
| dc.title (題名) | ＂Our Moment of Pause＂: Revolution, Technology of the Self, and Human Rights in Reading Lolita in Tehran | |
| dc.type (資料類型) | report | |
