Concentric: Studies in English Literature and Linguistics

Permanent URI for this collectionhttp://rportal.lib.ntnu.edu.tw/handle/20.500.12235/219

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    (英語學系, 2016-03-??) Tonglu Li
    This article examines Mo Yan’s Sandalwood Death, a novel on Sun Bing, troupe leader of Cat Tune and participant in the Boxer Rebellion. Identifying more with localized folk culture than with the modern culture represented by either the new Westernized elites or the revolutionary Communist political class, Mo Yan, in Sandalwood Death, created a novel whose settings are the three interrelated realms of the everyday, the historical, and the divine. The first, “everyday” section of the novel focuses on the ways in which human desire is fulfilled and contested in the mesh of power relationships. With the outbreak of the Boxer Rebellion, the attention of the narrator shifts to the historical realm, in which institutional violence is exercised and challenged. The realm of the divine comes as the negation of the bodily and the historical. In this divine space constructed by the carnivalesque performance of Cat Tune, the boundaries between performers and spectators, human song and animal screams, the worldly and otherworldly, and even life and death are blurred. A psychological construction that exists in people’s memory, this divine space uses the Cat Tune as its herald. For Sun Bing and his peers, the meaning of life is not found in self-gratification, but in becoming part of the people’s eternal memory, a memory that is substantially different from any of the institutional versions. Creating, disseminating and transmitting such a memory, these people are not insensitive onlookers to scenes of bloodshed, but passionate activists who speak and sing on their own behalf.
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    (英語學系, 2015-05-??) Tony See Sin Heng
    This paper examines the resonances between Gilles Deleuze’s and Daisaku Ikeda’s philosophy of the subject and revolution. Although much has been written about Deleuze’s and Ikeda’s philosophies separately, relatively little has been focused on the resonances between these two philosophies. This paper aims to highlight the resonances between Deleuze’s and Ikeda’s philosophy of subjectivity and their implications for contemporary revolutionary discourses. This paper does not aim to establish that the two philosophies are identical, for it is recognized that Deleuze’s philosophy developed in the context of Western philosophy and Ikeda wrote in the in the context of Mahāyāna Buddhist philosophy advocated by Nichiren Daishonin. This paper aims to argue, instead, that despite the obvious differences, there are important resonances between these two philosophies, and they need to be explored as both philosophies may both benefit from mutual dialogue and theoretical exchanges. In the first part of this paper we will examine Deleuze’s theory of the subject in the context of Western philosophy, followed by an examination of Ikeda’s philosophy of the subject in the context of Mahāyāna Buddhism. In the third part, we will examine the resonances between Deleuze’s and Ikeda’s philosophy of the subject, and consider the implications of these for social and political revolutions.
  • No Thumbnail Available
    Item
    Untitled
    (英語學系, 2016-03-??) Tonglu Li
    This article examines Mo Yan’s Sandalwood Death, a novel on Sun Bing, troupe leader of Cat Tune and participant in the Boxer Rebellion. Identifying more with localized folk culture than with the modern culture represented by either the new Westernized elites or the revolutionary Communist political class, Mo Yan, in Sandalwood Death, created a novel whose settings are the three interrelated realms of the everyday, the historical, and the divine. The first, “everyday” section of the novel focuses on the ways in which human desire is fulfilled and contested in the mesh of power relationships. With the outbreak of the Boxer Rebellion, the attention of the narrator shifts to the historical realm, in which institutional violence is exercised and challenged. The realm of the divine comes as the negation of the bodily and the historical. In this divine space constructed by the carnivalesque performance of Cat Tune, the boundaries between performers and spectators, human song and animal screams, the worldly and otherworldly, and even life and death are blurred. A psychological construction that exists in people’s memory, this divine space uses the Cat Tune as its herald. For Sun Bing and his peers, the meaning of life is not found in self-gratification, but in becoming part of the people’s eternal memory, a memory that is substantially different from any of the institutional versions. Creating, disseminating and transmitting such a memory, these people are not insensitive onlookers to scenes of bloodshed, but passionate activists who speak and sing on their own behalf.
  • No Thumbnail Available
    Item
    Untitled
    (英語學系, 2015-05-??) Tony See Sin Heng
    This paper examines the resonances between Gilles Deleuze’s and Daisaku Ikeda’s philosophy of the subject and revolution. Although much has been written about Deleuze’s and Ikeda’s philosophies separately, relatively little has been focused on the resonances between these two philosophies. This paper aims to highlight the resonances between Deleuze’s and Ikeda’s philosophy of subjectivity and their implications for contemporary revolutionary discourses. This paper does not aim to establish that the two philosophies are identical, for it is recognized that Deleuze’s philosophy developed in the context of Western philosophy and Ikeda wrote in the in the context of Mahāyāna Buddhist philosophy advocated by Nichiren Daishonin. This paper aims to argue, instead, that despite the obvious differences, there are important resonances between these two philosophies, and they need to be explored as both philosophies may both benefit from mutual dialogue and theoretical exchanges. In the first part of this paper we will examine Deleuze’s theory of the subject in the context of Western philosophy, followed by an examination of Ikeda’s philosophy of the subject in the context of Mahāyāna Buddhism. In the third part, we will examine the resonances between Deleuze’s and Ikeda’s philosophy of the subject, and consider the implications of these for social and political revolutions.