Illegal Noise-The Sound of Change in H. T. Tsiang's "And China Has Hands"

非法噪音：蔣希曾《出番記》中改變的聲音

10.7015/JEAS.201209.0419

喬爾‧溫德蘭(Joel Wendland)

文學 ； 華裔美國人 ； 蔣希曾 ； 聲音 ； literature ； Chinese-American ； H. T. Tsiang ； sound

歐美研究

42卷3期（2012 / 09 / 01）

419 - 457

英文

本文研究聲音在蔣希曾1937年作品《出番記》中所扮演的角色。聲音，以及其辯證對偶－噤聲，在此作品中創造了一個「聲音地景」，可於其中勾勒出身分、群體、政治派系、壓迫與抵抗的認知地圖。蔣希曾對於聲音的運用，為文本增添了新的聽覺層面，這是習於西方閱讀模式的讀者所常忽略的。本文檢視蔣希曾如何在被強迫的沈默中敘事，強調中華文化中口語的價值與限制。在國際主義勞動階級運動一片追求解放，操控種族、族裔、國家與語言分歧之際，這些限制反而激發蔣希曾追尋新的旋律與節奏。

This paper examines the role of sound in H. T. Tsiang's 1937 novel ”And China Has Hands.” Sound, and its dialectical partner, silence, work in this novel to create a ”sonic landscape” in which a cognitive map of identity, community, political affiliations, oppression and resistance might be sketched. Tsiang's use of sound adds an aural dimension to the text which is typically ignored by readers accustomed to Western modes of reading. This paper examines how Tsiang produced a narrative that emerges from enforced silence to emphasize the value and limits of orality in Chinese culture. Those limits cause Tsiang to seek new cadences and choruses within an internationalist working-class movement modulated by racial, ethnic, national, and linguistic differences, in a common struggle for liberation.

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