分類： 活動公告, 演講暨研討會
來源： 英美語文學系 - 鄭雨桑 - rainniesun@mail.ndhu.edu.tw
對象： 全校教職員_全校學生_單一窗口_系所助理_兼任教師_退休教職員_校友
標題： 歐盟中心講座：11.21(三)「文學與音樂：試論改編詩學」；11.22(四)「全球化世代下的歐洲文學」
日期： Mon, 19 Nov 2012 09:31:13 +0800

溫世仁卓越學術講座
英國國家學術院院士Prof. Dr. John NEUBAUER蒞臨本校演講

時間：101年11月21日(三)10:00～12:00
地點：國立東華大學圖書館二樓 多媒體放映室

主題：文學與音樂：試論改編詩學
Literature and Music: Towards a Poetics of Adaptation
講者：Prof. Dr. John NEUBAUER
英國國家學術學院 院士
阿姆斯特丹大學 名譽教授
John Neubauer教授目前為阿姆斯特丹大學比較文學名譽教授，在文學想像、科學和音樂跨領域有卓越的研究，並榮膺英國國家學術院院士。此次應國立東華大學法國國際異邏輯想像研究中心亞洲辦公室計畫籌備處與歐盟研究中心邀請，探討歐洲浪漫主義在文學、音樂、政治領域追求創新、國族理想與真正傳統之間的衝突與矛盾。跨領域研究文學與音樂跨藝術媒材之間的相互闡明性，穿越《希伯來歌曲》的真實性與原創性之間，演論議跨文學音樂的改編詩學。

聯絡人：李淨慈 03-8635312；連絡信箱：Taiwancri@gmail.com
國科會國合處法國國際異邏輯想像研究中心亞洲辦公室計畫*
計畫主持人：陳鏡羽
            國立東華大學英美語文學系 教授
            國立東華大學歐盟研究中心 執行長

主辦單位：國立東華大學法國國際異邏輯想像研究中心亞洲辦公室籌備處
國立東華大學歐盟研究中心 
協辦單位：國立東華大學、人文社會科學學院、溫世仁文教基金會
補助單位：國科會國合處

*演講摘要：

Literature and Music: Towards a Poetics of Adaptation

In 1815, the Congress of Vienna was waltzing along, while music publications in Vienna and elsewhere furthered a cultural nationalism that had, in the long range, no less of a political impact than the Congress itself. In 1815, Vuk Stefanović Karadžić published his Book of Serbian Folk Songs in Vienna, while Lord Byron, Isaac Nathan, and John Braham put out the Hebrew Melodies in London, intensifying thus a revival of folk poetry that James Macpherson and Johann Gottfried Herder had initiated. The aesthetically and politically important reemergence of folk music ran parallel to what I have called in the title of my book The Emancipation of Music from Language (1986). Folk-music adaptations in national songs and national operas led to the introduction of national languages in compositions of Weber, Glinka, Moniuszko, Erkel, Smetana, Wagner, Mahler, Janaček, Bartók, and many others.
	Having recently studied the emergence of national music in Eastern Europe, I turn my present talk to the flourishing of an astonishing “national songs market” on the British Isles. Haydn, for one, composed 445 Scottish, Welch, and Irish folk-song arrangements between 1791 and 1805; Beethoven, Ignaz Pleyel, and others made their own smaller contributions. Seeing the success of this “song market,” the young Isaac Nathan, son of a Polish-born cantor in Canterbury, hit upon the idea of publishing Hebrew melodies. As he announced in the Gentleman’s Magazine of May 1813, he planned to publish melodies that were “upwards of 1000 years old and some of them performed by the Ancient Hebrews before the destruction of the Temple.” Somewhat to his own surprise, Lord Byron consented to write new poems for the project. Nathan’s cooperation with Byron went excellently, but it soon became evident that the tunes collected from the liturgical practices of the London and Canterbury synagogues had no demonstrable ancient sources. The Preface of the collection had to admit that the age and the originality of the melodies could not be ascertained.
	I shall analyze songs from the Hebrew Melodies that have been traced to Jewish liturgical practices of Nathan’s time. Nathan’s search for authenticity had to stop here. Had he continued, as later scholars have, he would have landed in an interreligious and interethnic jungle of adaptations, rather than in a coherent culture of ancient Israel. I shall interpret these songs against several subtexts: the liturgical texts that Nathan replaced with Byron’s lyrics, older texts that were coupled to liturgical or secular tunes, and the “roaming” tunes that found their way to Nathan. Reading the Hebrew Melodies against these subtexts reveals a stupendous world-wide-web of adaptations.
. 	The Hebrew Melodies symbolize a paradox at the very heart of Romanticism. The romantics rejected imitations and adaptations in the name of originality and singularity, furthering the introduction of copyright laws. Yet, romantic quests for authentic national traditions found only adaptations, and romantic adaptations of the past tended to serve national revivals interlinked via adaptations. The conflict between authenticity and adaptation lives on today: artists and students of culture advocate intertextual and intermedial adaptations, while business and science insist on the authenticity of intellectual property. Harry Nathan, one of Isaac’s descendents, has a contested copyright to a tune of “Waltzing Matilda,” Australia’s unofficial national anthem.


*法國異邏輯想像中心在全球有六十多個衛星中心的學術網絡。
*法文「l’imaginaire」，英文譯作「the imaginary」；中文譯為「想像」卻易與「imagination」的翻譯造成混淆，若譯作「虛幻想像」則可能被誤認為「不合邏輯」（illogical）。根據Grenoble學派的理論家，「l’imaginaire」 指涉的是別於歐洲傳統邏輯概念的另類邏輯（alogique），在人類的認識論和認知過程扮演極重要的地位，權衡其在學術的適切表達，將之中譯為「異邏輯想像」。
活動相關細節可參閱──
計畫官方網站：http://www.cri.ndhu.edu.tw/files/14-1070-48096,r11-1.php

========================================================

歐盟文化論壇
英國國家學術院院士Prof. Dr. John NEUBAUER蒞臨本校演講
        
主題：全球化世代下的歐洲文學
Europe’s Literature in an Age of Globalization

講者：Prof. Dr. John NEUBAUER
      英國國家學術學院 院士
阿姆斯特丹大學 名譽教授

主持：朱景鵬教授
國立東華大學歐盟研究中心 主任
國立東華大學公共行政研究所 教授

時間：101年11月22日(四)15:30～17:30
地點：國立東華大學人文社會科學院一館 A207會議室

John Neubauer教授目前為阿姆斯特丹大學比較文學名譽教授，在文學想像、科學和音樂跨領域有卓越的研究，並榮膺英國國家學術院院士。應國立東華大學歐盟研究中心與法國國際異邏輯想像研究中心亞洲辦公室籌備處邀請，透過比較文學文學史概念形塑與書寫，講述全球化世代下的歐洲概念和文學的範疇認知與變遷，其對於處理文學史的區域性及全球性的洞見，聚焦個別國家的差異性以建構範圍更廣、更具涵蓋性的跨國、跨文化的歷史，引人省思歐盟文化之統一於多樣性的單複數問題。

聯絡人：李淨慈 03-8635312；連絡信箱：Taiwancri@gmail.com
        彭莉琪 03-8635941；連絡信箱：Eurc@mail.ndhu.edu.tw

主辦單位：國立東華大學歐盟研究中心 
國立東華大學法國國際異邏輯想像研究中心亞洲辦公室籌備處（計畫主持人：陳鏡羽教授/歐盟研究中心執行長）
協辦單位：國立東華大學
          國立東華大學歐盟研究社團
補助單位：臺灣歐盟研究中心、國科會國合處
This forum is funded by the European Union

活動相關細節可參閱──
計畫官方網站：http://www.eurc.ndhu.edu.tw/files/14-1082-48097,r11-1.php
演講摘要：

Europe's Literature in an Age of Globalization

The globalization of literature has been as exciting and problematic as in most other fields. The study of comparative literature – which was born in the aftermath of World War II and received a major impetus through the founding of the International Comparative Literature Society (ICLA) – was originally Eurocentric. After introductory remarks on the history of literary history, I will concern myself with the problems and possibilities of the globalization of literary studies that started with the 1980s. Relying on my experience within the ICLA, especially by editing the History of the Literary Cultures of East-Central Europe (ICLA 2004-2010), I shall argue that the regionalization and globalization of literary histories ought to focus as much on the differentiation of national concepts as on attempts to construct ever broader and more encompassing transnational and transcultural histories.

~歐盟研究中心敬邀~