書展

本次購書計畫在政大總圖二樓經典書房舉辦兩次書展，第一次是一百年六 月一日到十五日，展出書籍為恐怖、浪漫、偵探、犯罪四大類，每類佔五 十冊，共兩百冊。第二次則是一百年十月十七日到三十一日，展出書籍為 大眾文學文化理論，科幻/奇幻以及現代戲劇文類，一個文類約七十冊，

展出共約兩百冊。

(1) 第一場書展（一百年六月一日到十五日）

首次書展前我們發現：圖書館採編組剛經手的新書一上架，便已有許 多讀者預約、借出書籍，也有不少同學扼腕地表示，太晚預約或者前 去借閱書籍，以至於書已經被借走。書展現場讀者也反應熱烈，有許 多不同科系的讀者翻閱圖書並提出許多問題，顯示同學們都興趣滿 滿。

負責偵探文類的陳音頤老師

陳音頤老師的另一個專長領域是愛情浪漫文學

陳超明老師的其中一個專業領域是恐怖小說

兩位陳老師合照

兩位陳老師合照

兩位陳老師和兩位助理在書展書架前合照

負責犯罪黑幫文學文類的伍軒宏老師

(2) 第二場書展（一百年十月十七日到三十一日）

第二次書展因為是在剛開學沒多久就舉辦，恰好英文系的羅狼仁老師 開了研究所的課，課名為「奇幻文學：當代科幻小說，幻想，恐怖」

許多碩一、碩二的學生，都紛紛表示，多虧購書計畫幫忙購買並集合 相關用書，讓同學們對在準備課程以及撰寫期中、期末報告，都能感 到更加順利，覺得更有收穫了。

研究所開奇幻文學課的羅狼仁老師

羅狼仁老師親切地與助理合照

負責大眾文學理論的邱彥彬老師

對戲劇專精研究的姜翠芬老師

(3) 影片購買狀況

此次原先欲訂購約三十部影片，代理商回報時表示，有一半的片子是 絕版、尚未發行等等。由於考量到經費，目前訂購已到館的十八部影 片裡面，只有一部是公播版，其它都是家用版；而這些影片多數都外 借中，甚至有人預約，顯示這些影片是受到全校師生所愛用的。

5. 影展

配合本計畫，我們在夜間假研究大樓0203，舉辦了兩場影展。一場是輕鬆 的浪漫愛情喜劇，另一場則是緊張刺激的動作/科幻片。

(1) 大眾文學影展1—浪漫喜劇 (一百年十月十九日，十九點到二十 一點)

情人節快樂是一部輕鬆愉快的浪漫喜劇，用詼諧的方式表示，愛 情往往來得不知不覺，要勇於付出真心才能得到愛，很適合忙碌 而怕受傷害的現代人深思。

(2) 大眾文學影展2—動作/科幻 (一百年十月二十六日，十八點半到 二十一點)

全面啟動這部電影的電影票房本來就極高，因此播放影片當天，

有非常多人，不論國籍，都準時到場欣賞。放映結束以後，還有 一位男同學留下來，告訴我們，在大陸網站上有很多網友討論，

應該有另一個結局，我們則討論，不同結局會有什麼不同的意 義。

陳音頤老師在影展前也看過全面啟動，覺得這部電影很精彩、值得深 思。

陳音頤老師與助理們合照。

6. 演講

(1) 演講一：林明澤老師

本計畫於第一次書展期間，邀請成功大學外文系林明澤副教授於 一百年六月二日中午，假政治大學研究大樓0302號教室進行演講，

講題為「驚懼/恐怖之興：概論十八世紀末英國志異小說」。一開 始林副教授對terror與horror的區分就已抓住聽眾的心，他風趣幽默 又嶄新的演講內容，不只吸引許多同學參加演講，演講後同學的 踴躍發言/問也使人非常印象深刻。演講結束後幾天迴響極大，許 多同學還寫信索取power point檔以及錄影檔，與會者人人皆獲益 良多。

林明澤老師演講的PPT綱要

 The Rise of Terror/Horror:

Introducing the Gothic Novel of the Late 18^th Century

 Terror vs. Horror

 A distinction first proposed by Ann Radcliffe in an essay, “On the

Supernatural in Poetry,” published in 1824

 “Terror and horror are so far opposite, that the first expands the soul, and awakens the faculties to a high degree of life; the other contracts, freezes, and nearly annihilates them.”

 “The difference between Terror and Horror is the difference between awful apprehension and sickening realization: between the smell of death and stumbling against a corpse.” (Devendra Varma in The Gothic Flame, 1966)

 Terror vs. Horror

 In terms of mood: suspenseful uncertainty vs. tangible repugnance

 In terms of reception: thrilled curiosity vs. distraught evasion

 In terms of reaction: galvanized actions vs. overwhelmed paralysis

 In terms of image representation: suggestive traces vs. explicit display

 In terms of aesthetic judgment: the sublime vs. the negative sublime

 Terror vs. Horror

 At that moment Catherine thought she heard her step in the gallery, and listened for its continuance; but all was silent. Scarcely, however, had she convicted her fancy of error, when the noise of something moving close to her door made her start; it seemed as if someone was touching the very doorway—and in another moment a slight motion of the lock proved that some hand must be on it.

She trembled a little at the idea of anyone's approaching so cautiously; but resolving not to be again overcome by trivial appearances of alarm, or misled by a raised imagination, she stepped quietly forward, and opened the door. Eleanor, and only Eleanor, stood there. (Jane Austen, Northanger Abbey)

 Though exhausted, faint, and weary, I trembled to profit by the approach of Sleep: My slumbers were constantly interrupted by some obnoxious Insect crawling over me.

Sometimes I felt the bloated Toad, hideous and pampered with the poisonous vapours of the dungeon, dragging his loathsome length along my bosom: Sometimes the quick cold Lizard rouzed me leaving his slimy track upon my face, and entangling itself in the tresses of my wild and matted hair: Often have I at waking found my fingers ringed with the long worms which bred in the corrupted flesh of my Infant. At such times I shrieked with terror and disgust,

and while I shook off the reptile, trembled with all a Woman's weakness. (M. G. Lewis, The Monk)

 The Convergence of Gothic Sensibilities

 Medievalism:

1. Barbarism and violence 2. Freedom and democracy

3. The narrative tradition of romance 4. Catholicism and Its Assumed Corruption 5. Aristocracy and Its Glamour & Tyranny

 Sentimentalism:

1. Consciousness of emotionality and psychological depth 2. Indulgent contemplation on death (the graveyard poetry)

 The Aesthetics of Sublimity:

1. Break from the neat constraints of “beauty” and “rationality”

2. Appreciation of the Wild Nature

 Romanticism and Gothicism

 Gothicism as a neglected chapter of the history of High Romanticism:

 Gothicism as the cultural predecessor of Romanticism and their contemporaneousness:

 Major Romantic Poets’ reliance on the Gothic tradition for motifs, scenarios, and characters to work on

 Horace Walpole’s The Castle of Otranto (1764) and Its Problematic Legacy

 Laying down the conventions of Gothic Novel/Romance 1. A medieval castle or monastery and its vaults settings:

2. “Virgin in distress” as the typical scenario:

3. (Quasi-)Supernaturalism:

4. Manuscript convention and story-within-story narration

 Highly problematic attempt to “blend the two kinds of romance, the ancient and the modern”

1. Realistic or fantastic:

2. Aristocratic or bourgeois:

3. Past or Present:

4. Supernatural or Unnatural:

 Terror Turned Laughter, and Horror Turned Disgust

 The “Camp” Potentiality of the Gothic narrative: too ridiculous in

the invocation of the supernatural for it to be taken seriously:

 The Horror in Walpole’s Gothic imagination was thus relegated to the theatre, his private theatre: The Mysterious Mother (1768) as a highly explicit incest play

 Domesticating the Gothic and the Rise of the Female Gothic

• Clara Reeve and her Champion of Virtue (1777, or later The Old English Baron)

• Downplaying supernatural incidents but highlighting bourgeois concerns such as love of young couple, sibling rivalry, and, most of all, distribution/transfer of properties

• Sophia Lee’s The Recess (1783), a historical romance based on Queen Mary of Scots: playing on the motif of virgin in distress

 Gothic Fiction as Popular Literature

 Gothic Setting as its primary defining feature: dilapidated castle, underground labyrinth, shadowed Catholic monastery, abandoned manor house, etc.

 Villain hero and feminine victim as primary Gothic characters in a plot of sodo-masochistic harassment: derived from Richardson’s Clarissa, contributing a lot to Marquis de Sade’s literary imagination and to the emergence of Byronic Hero

 Presence of Supernatural Beings like ghost or devil

 Hundreds of titles published by specialized printers like the Minerva Press, distributed from Circulating Library to predominantly female readers

 Profitable career for writers like Ann Radcliffe

 Stock Images of Gothic Fiction

 The Castle of Otranto

 1790s: Heyday of the Gothic Romance

 The Rise of Ann Radcliffe, “The Queen of Gothic” and her extremely successful career, winning huge royalties and critical acclaim for her:

 A great spate of contemporary imitators, consolidating thus the conventions of the female Gothic: cf. the so-called Northanger novels

 Eliciting a unique response like Matthew Gregory Lewis’s The Monk (1796)

 The prosperity of the Gothic under the shadow of the French Revolution: cf. Marquis de Sade’s “Reflections on the Novel”

 The Crave of the Literary Market for the Gothic Fiction

 Widely denounced as sources of corruption for women and youth:

nervous about the implication of the Gothic against the patriarchal authorities in the family and state at the time of French Revolution

 A readership and reading practice negatively gendered as female:

 A form of cultural consumption confined to the upper and upper-middle classes

 Production of Gothic chapbooks that catered to lower-class readers

 Circulation and Reading of the Gothic Novel

 Ann Radcliffe and the Female Gothic

 Ellen Moers’ coinage of the term, “the Female Gothic”

 The notion of “travelling heroinism”: narrative focus and perspective of the heroine and her (forced) peregrination among the Continental countries, esp. France and Italy

 The cultivation of the picturesque in the Gothic: word paintings in the style of Salvador Rosa (aesthetic sensibility equal to moral sensibility)

 Developing a precursory mode of detective narration

 The technique of the explained supernatural: Her tantalizing invocation of the supernatural and denial of its veracity at the end of a story already incurred criticism of her contemporaries like Sir Walter Scott

 Matthew G. Lewis and the Male Gothic

 The sole prominent representative of the tradition:

 Deeply influenced by German Romanticism, especially by the Sturm-und-Drang (Storm and Stress) school

 The Monk as his sole Gothic novel: so popular and so closely connected with his fame that he was often nicknamed “Monk”

Lewis for the rest of his life

 Production of some early specimens of the Gothic Drama: e.g. The Spectre of the Castle

 Highly sensational, violent, and erotic in his narrative style: some episodes bordering on sadistic pornography

 Blatant use of the supernatural devices

 Ann Radcliffe vs. Matthew G. Lewis

 The Decline and Diversification of the Gothic Novel

 The Last major Gothic Novel: Charles Maturin’s Melmoth the

Wanderer (1820; pushing its conventions to such extremes that the narrative form suffers an implosion with unending digressions from the major plotline)

 Jane Austen’s Parody of the Radcliffean model, Northanger Abbey:

both a tribute to the Gothic mode and a revision of its conventions

 Emergence of the political gothic: William Godwin’s Caleb Williams—a story of persecution by and paranoia about the power of Institution

 Creation of the scientific gothic: Mary Shelley’s Frankenstein

 Narrative Poetry in Gothic mode by the major Romantics

 Diffusion and Introversion of the Gothic

 Gothic elements drawn out its original mode, dispersed across diverse modes of narration, successfully combined into the realistic mode: cf. Brontë sisters’ novels

 Emphasis on evocation of psychological horror, with the veracity of the supernatural rendered indefinite: cf. Victorian ghost stories

 Another Rise of the Gothic literary Fashion in the end of the Nineteenth Century:

 Rationale for Studies of Popular Literature

 Popular Literature as one of the most direct accesses to our understanding of the culture it emerges from:

 Popular Literature as one of the greatest shaping forces of the dominant ideologies for the majority of a society:

The predominantly female readership of Early British Gothic Fiction indicates the conditions of contemporary bourgeois females confined to domestic space

The exclusive male consumers of Victorian pornography indicates the “double standard” of sexual morality for men and women

 Popular Literature as Indicators of Contemporary Cultural Conditions

 Popularity of Gothic fiction indicates a tenacious belief in the hidden irrationality and sensuality of human nature and institution despite the Enlightenment teachings: cf. Ann Radciffe’s

“explained supernatural” plot and Matthew G. Lewis’ audacious use of supernatural elements

 Portrayal of aggressive sexuality in Victorian pornography indicates a common belief in man as essentially “a brute in the

boudoir” while woman as angel easily turned whore: cf. My Secret Life by Walter

 Popular Literature as Responses to Wishes and Anxieties of a Culture

 The problematic of Readerly Pleasure: How does a reader draw pleasure from consuming narratives that are highly repetitive in plot or even plot-less?

 Narratives of Popular Culture as Fantasy, with its double function:

To provide vicarious enjoyment: cf. Ellen Moers’ theory of

“traveling feminism” for Gothic Fiction

To Allay Cultural and Sexual Anxiety: cf. “conspiracy theory” in Gothic fiction and “Easily available and dismissible female bodies” in pornography

 Critical Approaches to Popular Literature

 Learn how NOT to read by the theme and plot: as they are the most insignificant parts

 Learn instead how to focus on the conventions and their variations:

as they are the primary source of readerly enjoyment

 Collect and Read as many specimens of a (sub-) genre as possible:

as culturally meaningful observations come up by sieving through them, discovering similarities and differences among them

 Specific Approach:

Foucauldian Reading

 Power/Discourse Complex:

 Gothic fiction as manners book:

 Production and Use of Victorian Pornography, a specific form of discourse as knowledge of sex, for affirmation of class and gender superiority:

 The sex education scenes common in Victorian pornography, as adult men instructing nubile women “how to do it,” demonstrate the exertion of power through “practicing of technology”

 Specific Approach:

Psychoanalytic Reading

 Freud’s demonstration of how to read the “Gothic Double” in developing his concept of “the uncanny”:

 The Return of the Repressed: the Gothic form itself, its characterization of “Gothic villain/hero,” presence of supernatural

beings like female ghosts and devils

 Pornotopia in Victorian pornography looked upon as a twisted reflection of infantile desire and fantasy:

 Specific Approach:

Marxist Reading

 Production and Consumption of Novel, esp. its Gothic variety, as a reproduction of the bourgeois mode of production: consolidation of the “separate spheres” for both sexes

 Female body (parts) as target objects of sexual and commercial fetishism in pornography:

 Conclusion

 A Humanist Vision:

Understanding of and Distancing from enslavement by dominant ideologies in one’s world through the studies of Popular Culture

林明澤老師演講後聽眾發問與老師的解答

政大博班學生林嘉鴻的問題：

「 老師您好，不好意思，想跟老師請教一下兩個問題。第一 個問題是，在老師您一開始提到terror和horror的差異點時，您提到 sublime和negative sublime的對照。想請教老師，因為sublime本身 似乎就有一種否定的階段在裡面，不曉得說negative sublime的意思

「 老師您好，不好意思，想跟老師請教一下兩個問題。第一 個問題是，在老師您一開始提到terror和horror的差異點時，您提到 sublime和negative sublime的對照。想請教老師，因為sublime本身 似乎就有一種否定的階段在裡面，不曉得說negative sublime的意思

在文檔中 補助人文及社會科學研究圖書計畫規劃主題：大眾文學 (頁 64-0)