波新聞-戴貴立/ 兩岸
原創 龔鵬程基金會 龔鵬程大學堂 2022-11-09 13:38 發表於北京
龔鵬程對話海外學者第一百零八期：在後現代情境中，被技術統治的人類社會，只有強化交談、重建溝通倫理，才能獲得文化新生的力量。這不是誰的理論，而是每個人都應實踐的活動。龔鵬程先生遊走世界，並曾主持過“世界漢學研究中心”。我們會陸續推出“龔鵬程對話海外學者”系列文章，請他對話一些學界有意義的靈魂。範圍不局限于漢學，會涉及多種學科。以期深山長谷之水，四面而出。
以下是中外兩位教授對話錄，文章取材自龔鵬程大學堂
卡羅拉·博伊斯·大衛斯教授（Professor Carole Boyce Davies）
美國康奈爾大學非洲學教授/英語文學教授 問：
龔鵬程教授：您好。您正在撰寫一本關於“非洲移民中的黑人女性和政治領導力”的書，此前於2018年您還發表了一篇關於蜜雪兒·奧巴馬的論文。黑人女性政治領導人對美國乃至全球的非洲女性有怎樣的影響？
我的書名叫做《黑人婦女權利》（ Black Women's Rights）。Rowman和Littlefield出版社的Lexington Books亦將於9月出版《領導力與權力迴圈》（ Leadership and the Circularities of Power）（附封面）。我的主要論點是，如果我們想要真正談論平等，我們不應該滿足於讓一到兩名女性擔任領導，而實際上需要50%的代表性。
對我來說，這是一個“權利”問題，因為婦女代表了世界的一半，因此，她們應該得到世界上一半的資源、代表權，並有權決定如何利用這些資源來建設一個更美好的世界。我們認識到，在如今男性占主導地位的世界中，往往有將資源浪費在戰爭和衝突上的趨勢，而人類的基本需求沒有得到滿足，並且環境也在退化。
黑人女性作為政治領袖的影響力在於，她們讓年輕一代看到，有可能真正領導並努力實現一個變革的世界。
我認為，在非洲和加勒比地區，女性更有可能獲得領導權，那裡有平等機會的運動，而在美國和歐洲，白人和男性的統治如此根深蒂固。我相信世界其他國家將從這一增長中受益。例如，古巴領導層中的女性比例已經達到52%。已有證據表明，21世紀將見證全球女性領導地位的上升。
My book titledBlack Women's Rights. Leadership and the Circularities of Power (cover attached) will be published in September by Lexington Books of Rowman and Littlefield Publishers. My main argument there is that we should not be satisfied with getting one or two women into leadership but actually need 50% representation if we want to actually talk about equality. For me it is a “rights” issue as women represent half the world by all assessments and as such are deserving of half the world's resources, representations and the access to the decisions about what to do with those resources for the benefit of a better world. We realize that in the contemporary male-dominated world, the tendency is usual to squander resources on wars and conflict while basic human needs are not fulfilled, and the environment is degraded. The impact that black women as political leaders have is that they allow younger generations to see that there is a possibility of actually leading and working towards a transformed world. I believe it will be more likely that women get to leadership in Africa and the Caribbean where there are movements to have equal access than in the United States and Europe where white and male domination is so entrenched. The rest of the world I believe will benefit from witnessing this increase. Cuba for example has already reached parity with 52% of women in leadership. The evidence is already available that the 21st century will witness the rise of women to leadership all over the world.
龔鵬程教授：您在研究非洲僑民方面作出了非常重要的學術貢獻。您對美國的亞洲（尤其是中國）僑民研究有哪些建議？
關於非洲僑民的工作一直以來都十分穩定，首先是積極分子的工作，他們實際上從1900年會議起就提出了泛非主義的邏輯；非洲和加勒比海地區的獨立運動，20世紀中葉的人類學家實際上描述了這些分散在全世界各地的社區，以及20世紀80年代和90年代文學領域的智力工作。
我認為，所有這些對不同僑民的研究都是不可或缺的，因為它們伴隨著不同地區的人們的運動。例如，隨著加勒比海運動向歐洲和北美地區的轉移，在多倫多、紐約、邁阿密、倫敦等主要城市舉辦了加勒比海嘉年華。
因此，我建議開展更多的項目，從藝術、文學、政治和各個領域研究這些移民；會議、出版物，以傳播資訊。
一些國家還建立了海外僑民的領導階層，以便他們的社區能夠在國內有代表。目前，這些社區的年輕學者正在研究和代表加勒比地區的中國和亞洲僑民。
The work on the African Diaspora has been steady, beginning with the work of activists who actually put forward the logic of a Pan-Africanism from the 1900 conference onwards; independence movements around the Africanand Caribbean word, anthropologists in the mid 20th century actually describing these dispersed communities across the world and intellectual work in the field of literature by the 1980's and 1990's. I think all of these studies of the various diaspora are inevitable as they accompany the movements of people in various locations. For example, with Caribbean movements to European and North American locations there have been Caribbean carnivals in major cities like Toronto, New York, Miami, London. So, I suggest more projects to study these diasporas in arts, in literature, politics and in all fields; conferences, publications, to circulate the information. Some countries also have created Diaspora leadership abroad so that their communities can be represented at home. The Chinese and Asian Diasporas in the Caribbean are being studied and represented now by young scholars from these communities.
龔鵬程教授：加勒比口頭和書面文學的主要特點有哪些？加勒比文學史上的口頭文學與書面文學有什麼樣的關聯？
卡羅拉·博伊斯·大衛斯教授：加勒比海的口頭文學遵循所謂民間故事的正常模式，但一旦研究，往往可以在敘事體裁和詩歌體裁、歌曲、押韻、詩歌等方面定型為神話、傳說、故事、諺語、謎語。事實上，嘻哈音樂中流行的許多口語類型，與加勒比海地區的語言使用方式，以及非洲裔美國口語文學有著密切的關係，這些口語文學是非洲文學傳統的前身。
口語與書面語有關，因為作家們經常表現出與口語傳統的互文關係，就像加勒比文學中的德里克·沃爾科特（Derek Walcott）和卡莫·布拉特維特（Kamau Brathwaite）在他們的作品中以不同的方式所做的那樣。
在穆塔布拉卡（Mutaburaka）等作家所稱的配音詩中，可以看到拉斯塔法裡傳統（Rastafari traditions）中詩歌口頭形式的影響，或是將這些形式作為靈感的影響。
馬西婭·道格拉斯（Marcia Douglas）的小說《奇妙的恐懼方程式》（ The Marvelous Equations of the Dread）（2019）故意使用她所說的貫穿牙買加文學的“低音節奏”（bass rhythm）。馬龍·詹姆斯（ Marlon James）在他的各種小說中也是如此。事實上，他們都表示，他們有意在作品中使用一些口頭傳統的敘事策略。
The oral literature of the Caribbean follows the normal patterns of what was called folktales but once studied can be identified as myths, legends, stories, proverbs, riddles in the narrative genres and in the poetic genres, songs, rhymes, poems, and so on. In fact, a lot of the spoken word genres that became popular in hip hop has a relationship to these ways of using language in Caribbean as well as African American oral literature with antecedents in African literary traditions. The oral is related to the written in that writers often demonstrate an intertextual relationship with the oral traditions as both Derek Walcott and Kamau Brathwaite in Caribbean literature do in their work in different ways. And in what is called dub poetry by writers like Mutaburaka, one can see the influence of oral forms of poetry in Rastafari traditions or that use those forms as inspiration. A novel like that of Marcia Douglas, The Marvelous Equations of the Dread (2019) deliberately uses what she calls the “bass rhythm” that runs through Jamaican literature. So too does Marlon James in his various novels. In fact, both of them say that they are deliberate of using some of the narrative strategies of the oral traditions in their works.
龔鵬程教授：非洲僑民與其他僑民之間的主要區別和相似之處是什麼，比如在社會和政治生活中，或在文學世界中？
卡羅拉·博伊斯·大衛斯教授：非洲離散群體（African Diaspora）是指全球化下散居在世界各地的非洲人口，這種離散的存在形式是通過幾個世紀非洲人口的遷移而逐漸行程的。整個過程伴隨了人口層面變化，當今的經濟和通信結構的形成，以及全球化意圖和政治認同等方面，而不單單是全球化進程下經濟壓迫的產物。
非洲人散居（African diaspora）則是指非洲人通過自願移民（前哥倫布時期的大西洋和印度洋貿易和探險旅行）的分散，強迫移民（印度洋跨大西洋和跨撒哈拉奴隸制度，在現代至少持續了四個世紀）和誘致移民（20世紀和21世紀由於世界經濟不平衡導致非洲人民的分散）。因此，這導致非洲人民在一系列國際地區和地域被重新安置和重新定義。
與其他離散群體不同，非洲的離散群體與其他離散群體有各種層面的重疊，例如在加勒比海地區與亞洲離散群（印度和中國）的交融。此外，大部分非洲離散群體是被迫跨大西洋奴隸制下的移民，他們的家庭連續性受到了破壞，他們對於家族的瞭解也被切斷。因此，對於許多非洲僑民來說，除了現在流行的DNA連接之外，幾乎沒有機會真正瞭解自己的家族血統，因為其他散居群體仍然可以瞭解他們家族和種族的歷史。所有非洲和加勒比海作家在他們的作品中都以富有想像力的電影、詩歌和敘事形式探討了這個問題。
The African Diaspora, which refers to the dispersal of African peoples all over the world, is identified here as an already-existing globalization of African peoples.Created through centuries of migrations, it precedes, at the level of the demographic, the current economic and communications structures now defined as globalization intent and political identity than the globalization created for economic oppression. The African diaspora then refers to the dispersal of Africans through voluntary migrations (pre-Columbian Atlantic and Indian Ocean trade and exploratory journeys), forced migrations (Indian Ocean transatlantic and trans-Saharan slavery over at least four centuries in the modern period) and induced migrations (the more recent 20th and 21st centuries dispersal of African peoples based on world economic imbalances). These have resulted, thereby, in the relocation and re-definition of African peoples in a range of international locations.
The difference with other diaspora is that one sees a variety of overlapping diaspora with other communities who have similarly migrated as with the Asian (Indian and Chinese) diaspora in the Caribbean.Additionally, the larger part of the African diaspora was constituted by forced migrations of transatlantic slavery which disrupted family continuities and knowledge of those connections deliberately. As such, for many in the African diaspora, there is little opportunity besides the now popular DNA connection to actually know one's family lineage as is still discoverable for other diasporas. All the African and Caribbean writers engage this issue at some point in their work imaginatively in film, poetry, narrative forms.
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圖／學者龔鵬程
