----- Simon Alan Reeve《一步一步：我的旅程人生》《前往不可能之地》。周婉窈與陳弱水《人文與民主的省思》。
202311
- 《公義觀念與中國文化》（臺北：聯經出版事業公司，2020）。
- 《中國歷史與文化的新探索》（臺北：聯經出版事業公司，2021）。
- 《人文與民主的省思》（臺北：允晨文化實業公司，2023）。
今年最感到鬆一口氣的是，《臺灣歷史圖說》英文版終於出版了。是這樣的感覺：扛了無法負荷的重物，一直走一直走，卻看不到隧道的盡頭，最後總算能卸下來了。
英國Carole Plackitt女士寫信到中研院來表示她想將這本書翻譯成英文，想來已經是將近十五年前的事了，這期間這本書已從初版長成好幾個版本了。若從英文版交給南天書局算起，也至少六年了。由於種種不利的因素，英文版的出版非常非常辛苦，耗費的心神、時間、精力足足可再寫一本厚實的中文書。現在既然已出版，就想忘掉那些辛苦。
有一位朋友說，她到象牙海岸探望她的法國人先生時，要將這本書當作伴手禮。她說：這應該是第一本抵達西非的英文臺灣史的書。我轉述給我先生聽，我先生愛說笑，反應又快，即刻說：「From Ivory Tower to Ivory Coast.」（從象牙塔到象牙海岸）哈哈哈，好個頭韻語。當然，我應該不算是象牙塔學者吧。
周婉窈老師《増補版 図説台湾の歴史》出版
- 周婉窈著，濱島敦俊監譯，石川豪、中西美貴、中村平譯。
- 東京：平凡社，2013年2月出版，273頁，ISBN: 978-4-582-411096。
- 本書係作者《臺灣歷史圖說》日文版《図説台湾の歴史》的增補版。
在初版的基礎上，增加二章，即〈知識人の反殖民地運動〉與〈 台湾人の芸術世界〉，是作者2009年中文版《臺灣歷史圖說（ 增訂本）》的日文全譯本。本書封面採用廖繼春的油畫《芭蕉之庭》 （1928），封底小圖為廖修平的作品《無語（一） Speechless》（2009），呼應新增篇章和部分內文。
本書於2010年榮列東亞出版人會議選出的「東亞人文書一百本」；日文版為日本多所大學採用為歷史教學用書。
歷史系 周婉窈 台灣史經典名著.
101學年度第2學期經典人文學程開始申請
在早期介紹年鑑學派的努力中，梁其姿編譯的《年鑑史學論文集》和周婉窈翻譯. 的《史家的技藝》（作者Marc Bloch 是年鑑第一代的創始人），是兩本重要的作 ...
年鑑史學論文集 Selected essays of annales school
作者：M. Block原文作者：M. Block
譯者：梁其姿編者：羅麗芳
出版社：吳氏基金會 1989 遠流出版日期：1995年
2012.4.2
昨天周老師請川瀨先生與我 謝謝她告訴我門許多事 包括本書
晚上讀周婉窈 《海洋與殖民地臺灣論集》
第八章 「進步由教育 幸福公家造」──林獻堂與霧峰一新會
1924年起連續 3 年，「文化協會」在霧峰舉辦「夏季學校」*2，林茂生擔任「哲學」、「西洋文明史」講座；第九章 想像的民族風──試論江文也文字作品中的臺灣與中國
很感動 很滿意
關於林獻堂：我幾十年前去過霧峰的林家花園，竟然不知道灌園日記等可歌可泣的故事 (包括他父子的環球旅行 。『矢内原忠雄伝』(矢内原伊作) 行前與他談過) 和了不起的"一新會"。)
關於江文也先生，作者獲贈江先生最重要的一封年終總結的家書，非常寶貴。
海洋篇收有四篇論文，主題依序為：明朝人對臺灣的認識、一五八二年美麗島船難事件、陳第〈東番記〉的介紹與分析，以及明清文獻中「臺灣非明版圖」的例證。
臺灣早期居民沒有文字，鄰近的明朝人如何認識臺灣？有具體接觸後，西文和中文的最早記載，如何描繪這個島嶼及其人群？臺灣「自古以來屬於中國」，抑或明人根本就認為不在版圖之內？在這些論文中，周婉窈教授透過嚴謹的史學方法提出解答，期待和讀者分享。
殖 民地篇收有六篇論文，其中四篇和日本殖民地教育相關。其一，是公學校制度、教科和教科書的總說；其二，討論公學校修身書中的日本人典範；其三，比較日本帝 國圈內臺灣、朝鮮和滿洲的「國史」教育；其四，從公學校國語（日文）讀本的插畫，探討臺灣人形象的變化。其他二篇分別以江文也的音樂和霧峰一新會為分析對 象。江文也是出身臺灣的天才音樂家，周婉窈教授試圖從江文也的文字作品探討他的民族認同和想像。霧峰一新會是臺灣地方文化啟蒙運動的奇葩，在周婉窈教授的 重建下，該會充滿熱力的活動恍如昨日，其向上、明亮的精神和意境是我們社會寶貴的泉源。
目次
自序
海洋篇
第一章 山在瑤波碧浪中──總論明人的臺灣認識
第二章 一五八二年美麗島船難餘生記
第三章 陳第〈東番記〉──十七世紀初臺灣西南平原的實地調查報告
第四章 明清文獻中「臺灣非明版圖」例證
殖民地篇
第五章 臺灣公學校制度、教科與教科書總說
第六章 殖民地臺灣初等教育修身書中的母國典範
第七章 歷史的統合與建構──日本帝國圈內臺灣、朝鮮和滿洲的「國史」教育
第八章 「進步由教育 幸福公家造」──林獻堂與霧峰一新會
第九章 想像的民族風──試論江文也文字作品中的臺灣與中國
第十章 寫實與規範之間──公學校國語讀本插畫中的臺灣人形象
附錄
一、楊英《先王實錄》所記「如新善開感等里」之我見
二、大林公學校的銅像哪裡去？
索引
試論戰後臺灣關於霧社事件的詮釋China Review International/《臺灣與海洋亞洲研究通訊 霧社事件專號'Warriors of the Rainbow' star》
http://homepage.ntu.edu.tw/~history/public_html/09newsletter/10/10-12-2.html
| 臺大歷史系講論會 試論戰後臺灣關於霧社事件的詮釋 |
| 周婉窈教授主講 |
霧社事件發生於1930年10月27日，延續近兩個月，導致參與起事的六社族人幾乎舉族滅絕，餘生者遭遷徙至他地。關於霧社事件的書寫、論述和研究，從戰後到現在有很大的變化，是不同群體、不同世代、不同部落（和性別），及其和不同的政治、社會、文化條件交錯的結果。 根據日方的分析，霧社事件的起因可歸納為三點：一、勞役剝削問題，二、原住民與日人婚姻問題，三、馬 赫坡社頭目的不滿。究實而言，這些只是近因，霧社諸社之所以蜂起抗暴，應該考慮到更根本的因素，如日本人侵入原本自成世界的賽德克族領域，沒收族人狩獵用 槍枝，駐守在部落的日警取代原部落頭目的地位，導致固有的傳統慣習律法（gaya）遭到空前未有的嚴重破壞。 戰後關於霧社事件的詮釋可分為四個階段。首先是抗日民族主義下的霧社事件。劉枝萬是戰後根據大量日文 文獻來書寫霧社事件的第一位學者，他將該事件定位於「近代革命」和「山胞抗日史」。陳渠川以文學筆法書寫霧社事件，將之定位為中華民族主義的抗日壯舉。戴 國煇編著的研究與資料集出版於1981年，集當時日文研究之大成，但基本上，他是在中國少數民族的大架構中思考霧社事件。 其次是來自學院外的「他者」的內部視野。1980年代以後，戰後出生並且能夠用中文充分表達思想和感 情的臺灣本地漢人，開始以新觀點來詮釋霧社事件。鄧相揚以報導文學的方式，先後出版圖文並茂的三本書。邱若龍則從賽德克族耆老的訪談和田野調查入手，繪製 霧社事件漫畫書。舞鶴兩度在清流部落租屋居住，以小說筆法寫出《餘生》。 第三，餘生菁英的霧社事件。1960年代初期，兩位日本女士來臺調查霧社事件，訪問事件餘生者，寫成 長文，刊登於日本的雜誌。1980年代，霧社事件餘生者菁英高愛德（Awi Hepah）與高永清（Pihu Walis、中山清），分別出版日文回憶錄。兩人在事件發生時年僅14歲左右，他們在戰後擔任要職，成為該事件的主要代言人。 第四，從「部落觀點」、gaya，以及「歷史的和解」入手的書寫。2000年前後，開始出現從賽德克 族內部觀點出發的論著，如Siyac Nabu（高德明）以賽德克族語發表論文，從「gaya Sediq」（賽德克傳統律法）的角度來思考霧社事件。2004年Kumu Tapas出版以口述採訪之資料為基礎的著作，特別強調女性觀點。近十年來，六社餘生者的後裔，如Takun Walis（邱建堂）和Dakis Pawan（郭明正）等人，也開始積極思索族人的歷史，致力於保存族群文化和部落記憶。 在霧社事件屆滿八十年的此刻，我們似乎站在歷史的分界點，看到從內部了解霧社事件的可能，也看到賽德克族人和解的可能。今天我們已然邁入一個可以期待一部或多部霧社事件的精彩作品的時代。 |
'Warriors of the Rainbow' star: From minister to leading man
Lin Ching-Tai is a man of peace, a 52-year-old Presbyterian minister in Taiwan. But for the epic action film “Warriors of the Rainbow: Seediq Bale,” he traded his vestments for tattoos and a fake scar, transforming into Taiwan's legendary aboriginal chief, Mouna Rudo, who led a bloody rebellion against Japanese colonizers of the island in 1930.
“Mouna is a dark, melancholy character,” Lin said during a recent visit to Los Angeles, speaking in Chinese. “As a child, he saw how the Japanese suppressed his people, and the desire for rebellion grew in him.” Even though he had never acted before, Lin said he found the lead role easy to assume because “Mouna’s character is my character, before I was 26.”
The brainchild of director Wei Te-Sheng, “Warriors” was produced for $25 million, the most ever for a Taiwanese-made film, and released there in two parts totaling 4½ hours. For its world premiere at the Venice International Film Festival last September, he prepared a 2½-hour cut, and it is that version that opened in Los Angeles on Friday. Much of the film is carried by Lin, who has the brooding eyes and craggy countenance of a man who has done a lot of hard living.
The film tells the story of the Wushe Incident, the largest — and last — uprising against the Japanese by the island's aboriginal inhabitants. Taiwan had been ceded to Japan by China in 1895 in the Treaty of Shimonoseki. The Seediq tribe was forced to give up its sovereignty and to work for the Japanese at menial wages.
Getting the project off the ground proved a tough sell, even though Wei’s first film, the romantic comedy “Cape No. 7,” was a runaway hit in 2008. It didn’t help that he intended to cast unknowns with aboriginal backgrounds, and to use dialogue in Seediq, a language now spoken by only about 1,000 people. Even with seed money from the Taiwanese government, he spent five years raising funds. John Woo came on as a producer, but Wei said that in the end he borrowed most of the money.
“But of course the Japanese told it from their point of view,” Wei said. So, for the script, Wei said he had to find his own truths, such as in one scene where a group of tribal women take their own lives.
“For example, the suicide of the women — the Japanese say the Seediq men forced them to do so,” Wei said, “whereas I show it as a willing act, an act of honor to escape capture by the enemy.”
During pre-production, Wei met Lin at his home village of Nanao. Lin is not a member of the Seediq tribal group but a different one, the Ataya.
“He looked just right. Everything about him was right for the part,” the director said. “I asked him to play Mouna.” Lin, who had never thought about being in the movies, hesitated. “Then so many of my friends and colleagues who’d heard about the project said to me, ‘You should get involved. You should play this role,’ ” he recalled.
Lin said he related to Mouna’s struggle because it paralleled his own. He grew up speaking the Ataya language at home and still does. When he attended primary school, he was forced to learn and speak Mandarin Chinese, which he resented. (At the end of World War II, Japan surrendered Taiwan to Chinese forces.)
The ethnic Chinese students and teachers “looked down on us,” Lin recalled. “They would insult us, pick fights with us. Yes, I got into some fights.” Admittedly, he wasn’t much of a student, and took up some bad habits, like smoking and drinking — a lot of drinking.
Finally, when he was 26, his sister talked him into attending seminary. “She said to me, ‘You’re not doing anything else in your life,’ ” he said. Their parents had been ministers, so it wasn’t a totally out-of-the-blue suggestion. It took 10 years to get through seminary, but little by little, Lin said, “I began to examine my life, how to change myself and my thinking. I learned how to serve others.”
By all accounts, the “Warriors” shoot was a grueling one. For Lin, the most difficult part was learning the Seediq dialogue. Although Seediq culture is close to his own the language is not, so he had to memorize all his lines. “I was learning as we were shooting,” he said. (“Seediq Bale” means "real Seediq," that is, a real man; for the tribesmen, this meant hunting, cutting the heads off enemies and otherwise proving one's macho.)
Six months of scheduled shooting stretched into 10 because of the complexities of the action sequences and filming in mountains and rain forests. But on set, Lin proved a natural leader and became spokesman for the other aboriginal actors who had been recruited. “After all, I was a minister, and I was Mouna Rudo,” he said with a smile.
The cast put up with late paychecks and stunt injuries because there was something larger at stake. “We became like a family,” Lin said. “We began to share the feeling that the movie wasn’t the director’s film. It’s became our film, our story.”
2012年2月5日 在臺灣大學文學院 "拾得" 下列書 (印象)
China Review International (MUSE, ToCs via
)Reviews of Scholarly Literature in Chinese Studies 中國研究書評
1997-1999 約10本
這本季刊的編輯是每期數篇(10以下)主題書評 再加上數十篇邀請的書評
通訊第五期封面。
- 《臺灣與海洋亞洲研究通訊》（霧社事件專號）．第五期，2011年12月出版
- 卷頭語／周婉窈
霧社事件相關論著
英雄、英雄崇拜及其反命題／周婉窈
《霧社事件101問》選刊 ／Takun Walis、Dakis Pawan莫那魯道遺骸歸葬霧社始末／吳俊瑩
1902．人止關之役／吳俊瑩
資料選刊
訣別的悲劇／高彩雲口述．高永清記錄．潘美信譯
我（彩雲）的回憶／高彩雲口述．高永清記錄． 郭珮 君譯
附錄： 高彩雲 女士口述紀錄中的人物關係簡介／周婉窈
活動報導與紀錄
川中島．清流部落的記憶－－霧社事件八十周年紀念座談會（上半場）／周馥儀、陳育麒整理
川中島．清流部落的記憶－－霧社事件八十周年紀念座談會（下半場）／周馥儀、陳育麒、陳慧先整理
臺大歷史系學會史週影展：電影《賽德克．巴萊》座談會側記／陳宜艷
參訪報告
清流部落參訪小記／陳慧先
補綴歷史記憶的拼圖－－桃米村、清流部落與霧社紀行／陳育麒
經過今日的霧社與清流部落／李靜慧
不滅的記憶－－清流部落與霧社參訪心得／張孝慧
From Puli（埔里）to Wushe（霧社）／Michael Knopf - （蔡偉娟整理）
其他領導學程書刊一本 機械系友一本.....
| The Walking Hills | |
|---|---|
 Theatrical release poster | |
| Directed by | John Sturges |
| Written by | Virginia Roddick (additional dialogue) |
| Screenplay by | Alan Le May |
| Story by | Alan Le May |
| Produced by | Harry Joe Brown |
| Starring | Randolph Scott Ella Raines |
| Cinematography | Charles Lawton Jr. |
| Edited by | William Lyon |
| Music by | Arthur Morton |
| Color process | Black and white |
Production company | Producers-Actors Corporation |
| Distributed by | Columbia Pictures |
Release date |
|
Running time | 78 minutes |
| Country | United States |
| Language | English |
The Walking Hills is a 1949 American Western film directed by John Sturges and starring Randolph Scott and Ella Raines. The film's plot has film noir elements in its story of a search for an old treasure by nine men including a detective tracking a fugitive, several others who have things to hide, and a love triangle involving the two leads and the fugitive.
《行走的山丘》（The Walking Hills）是一部1949年的美國西部片，由約翰·斯特奇斯執導，蘭道夫·斯科特和艾拉·雷恩斯主演。影片講述了九個人尋找古老寶藏的故事，其中有一位偵探在追蹤一名逃犯，還有幾位各懷鬼胎，以及男女主角和逃犯之間錯綜複雜的三角戀情。影片融合了黑色電影的元素。
The film was shot in the Alabama Hills of California and Death Valley National Monument, locations Sturges returned to a few years later to film his classic Bad Day at Black Rock.本片在加州的阿拉巴馬山和死亡谷國家紀念碑拍攝，幾年後，史特奇斯重返這些地方拍攝了他的經典之作《黑岩喋血記》（Bad Day at Black Rock）。
Plot
One day in contemporary Mexicali, a poker game in the back room of a cantina includes horse breeder Jim Carey, cowboys Shep and Johnny, a prospector called Old Willy, a stranger in town named Frazee and a drifter, Chalk. Guitar player Josh and bartender Bibbs are kibbitzing. Conversation turns to a legendary wagon train carrying gold bars worth $5 million lost 100 years ago in the Walking Hills, a huge area of shifting dunes across the border in the United States. Johnny, not paying attention, casually mentions how his horse recently tripped over an old wagon wheel in the hills. To keep the discovery a secret, they agree that all of them including Jim's man Cleve must join the search for the wagon train.
劇情簡介：在現代墨西哥城墨西卡利的一天，一家小酒館的後屋裡正在進行一場撲克牌局。參與者包括馬匹飼養員金·凱瑞、牛仔謝普和約翰尼、淘金者老威利、一個名叫弗雷澤的陌生人和一個流浪漢查克。吉他手喬許和酒保比布斯則在一旁閒聊。談話間，大家聊起了一支傳說中的篷車隊，據說一百年前，這支車隊載著價值五百萬美元的金條，在位於美國邊境的「行走山」——一片廣袤的、不斷移動的沙丘地帶——失踪了。強尼心不在焉地隨口提起，他的馬最近在山上被一個舊車輪絆倒了。為了保守秘密，他們一致同意，包括吉姆的手下克利夫在內，所有人都必須加入尋找這支篷車隊的行列。
The nine reach the apparent site but all the dunes have shifted since Johnny was there. Bibbs discovers an ox skull and Old Willy an oxen yoke and they begin digging. The group is joined by Chris Jackson, a woman who followed them from Calexico, where she works in a diner. Shep is really former rodeo rider Dave Wilson with whom Chris, herself a rodeo performer, fell in love at a rodeo in Denver, breaking off her engagement to Jim. Dave abruptly disappeared and Chris saw him again in Calexico after he showed up there as Shep, heading for the border.
九個人到達了疑似地點，但自從約翰尼來過之後，所有的沙丘都發生了移動。比布斯發現了一個牛頭骨，老威利發現了一個牛軛，於是他們開始挖掘。這時，克里斯傑克森加入了隊伍，她從卡萊克西科一路跟著他們過來，在那裡她經營著一家餐廳。謝普其實是前牛仔競技騎手戴夫·威爾遜，克里斯本人也是一名牛仔競技表演者，她在丹佛的一場牛仔競技表演中愛上了他，並因此解除了與吉姆的婚約。戴夫突然消失，克里斯在卡萊克西科再次見到他，當時他化名謝普，正前往邊境。
It turns out that Dave Wilson had fled because he accidentally killed a gambler who accused him of cheating at cards. The man's father, King, hired a detective who turns out to be Frazee, and who has been sending signals to King and a posse with a heliograph. Johnny, Chalk and Cleve are also on the run and each believes Frazee is after him. Frazee shoots Johnny during a fight. Jim, told by Johnny that he would rather die than go to prison, has Cleve hide the horses to keep Johnny from being found out if someone goes for help.
原來，戴夫威爾森逃跑是因為他意外殺死了一個指控他打牌作弊的賭徒。賭徒的父親金僱用了一名偵探，而這名偵探正是弗雷澤，他一直用日光信號機向金和他的民兵隊傳遞信號。強尼、查克和克利夫也在逃亡，他們都認為弗雷澤在追捕自己。在一次打鬥中，弗雷澤開槍打死了強尼。強尼告訴吉姆，他寧願死也不願坐牢，於是吉姆讓克利夫藏起馬匹，以免有人去尋求幫助時約翰尼的行踪暴露。
A wagon is uncovered and tempers flare when no gold is found. Johnny dies right after Frazee admits he watched Chris as "hangman's bait," waiting for Dave to show up. A terrible sand storm develops, and Chalk tries to stampede the horses, killing Frazee with Frazee's gun. Jim kills Chalk as he tries to escape. The storm uncovers the entire wagon train. Old Willy finds it, but it's empty. Dave decides to turn himself in to the law and Chris, still in love with Dave, rides after him. Jim has a hunch, meanwhile, that the wagons weren't entirely empty when Old Willy found them.
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