台灣留學生出席國際會議補助

2010年9月28日 星期二

Common Sympathies—Miller’s Civic Duty Argument

 

論文發表人:李心文(南加州大學 School of Philosophy)

 

http://www.hum.utah.edu/philosophy/?pageId=1713

 

為了要證成「一個民族有權利建立自己的政府」這個理論,捍衛民族自決的哲學家們有時會藉由指出一個民族的某些特質,來支持他們的理論。其中有一個常被引用的特質,是同一個民族裡,成員之間彼此相互的認可(mutual recognition), 也就是「同儕的情感」。米勒認為,這個特質,可以大大提昇人們分擔自由民主社會裡,公民義務的意願。本文探討這個「公民義務論證」。該論證主張,一個民族的成員之間彼此有「同儕的情感」,由於這樣的情感能激勵公民,使他們願意分擔社會裡的某些義務,因此,一個民族很適合「建立自已獨立的國家」。關於這個論證,我提出三個批評。首先,我們可以質疑,是不是同一個民族的成員,就一定會有同儕的情感。其次,即使成員之間的確,就像米勒所說的,有某種程度上的同儕情感---相互的認可、互信或、甚至互惠---這並不能證明,這些特質就能直接或間接地提高人們履行公民義務的意願。最後,即使一個民族具有這些特質,而且這些特質的確有助於促進公民服義務的意願----我們還是沒有理由相信,一個民族有權利建立一個獨立的國家。有許多其他類型的社群(community)也具有相似的特質,但沒有人因此就認為,這些團體也適當建立屬於自已的獨立國家。

 

Miller believes that, because co-nationals share common sympathies, they are more likely to be willing to cooperate with the demands of the state and fulfill their duties. This makes a nation a good candidate to establish a state. I raise two objections. Although co-nationals share common sympathies, it is not clear if such sympathies would enhance their willingness to conform to the demands of civic duties. Moreover, members of other types of groups share a strong sense of common sympathy, but they clearly do not have a right to establish a state. Therefore, the civic argument fails.

 

Raman Spectroscopy of Individual Suspended Carbon Nanotubes under Immense Strains

 

論文發表人:張家旗 (南加州大學物理所博士班)

http://www.aps.org/meetings/march/

本文中用化學氣相沉積法生長超長奈米碳管並使其懸空橫跨一百奈米寬之可分離基板. 由於碳管與基板間的摩擦力,我們可以增加基板距離而不使碳管滑落. 此時碳管處於伸張狀態. 我們使用拉曼光譜來研究碳管的應力性質, 因為碳管特徵拉曼光譜G band 具有很明顯之應力反應. 當碳鍵長度增加G band頻率產生明顯紅位移(下降). 數據顯示, 碳管可伸張達13.6%而沒有滑動或斷裂. 同時, 我們發現G band頻率變化率具有很強之對稱性相關, 其取決於碳管之對掌性. 變化範圍從 -6.2 ~-23.6 cm-1/% strain. 儘管G band頻率變化率在不同碳管間有很大差異. 但我們觀察到G band 半高寬(FWHM)在相同的頻率下降值 (75 cm-1) 時突然增加. 另外, 我們觀察到G band頻率下降達157cm-1 (15921435 cm -1), 意指碳管確實可承受相當大的彈性伸張而不產生缺陷.

Suspended carbon nanotubes with long nanotube-substrate contacts grown by chemical vapor deposition enable us to explore carbon nanotubes up to strains of 13.6%. Here, Raman spectroscopy is utilized to observe strain-induced changes in the G band vibrational modes, which have a linear and pronounced response to the extension of the C-C bonds under various degrees of strain. The G band is found to downshift at rates ranging from -6.2 to -23.6cm-1/% strain among the different nanotubes measured in this study.  Despite this wide range of downshift coefficient, we observe broadening of the G band linewidth (FWHM) at a universal threshold downshift of DwG > 75cm-1. The G band is observed to downshift by up to 157cm-1 (from 1592 to 1435cm-1) under immense strains without any noticeable D band. Our measurements show that carbon nanotubes remain intact up to 13.6% strain with no slippage, breakage, or defect formation.

 

 

Fabricating the Chinese Melancholia: Woman and Nation in Ang Lee’s Lust, Caution

論文發表人:王嘉蘭(南加州大學博士班)

 

本論文探討李安「色戒」一片當中,再現四零年代上海以刻畫及女性受苦影像之間的關係。論文從過去十年來中文電影裡所表現的「中國性」的概念出發,思考以下幾個問題:本片從兩個層面表現出懷舊的主題,一為故事發生在四零年代受到帝國主義壓迫同時又充滿異國色彩的孤島時期上海;二為片中對墮落女子的描寫,呈現出拉岡理論中原始自我認同過程中異化的概念;在這當中,對東西方觀眾而言,這種對懷舊主題的探討以及炒作,在文化翻譯以及交易的過程當中所扮演的角色;再者,透過男女主角所表現出的感傷主義如何再現國族創傷;片中三場虐待與被虐,精神與身體痛楚交錯的床戲所呈現出的心理運作為何?在此歷史傷痛轉變成文化拜物的過程中,華人社會如何以自我再現的方式發聲?最後,本論文探討性別政治在李安改編張愛玲小說的電影中與國族議題密不可分的關係。

 

This paper looks into Ang Lee's 2008 film, Lust, Caution and contemplates the way the portrayal of a woman's sufferings informs the cinematic representation of the war-torn Shanghai during its semi-colonial period in the 1940s. Considering the prolific (re)production and dissemination of the imageries of "Chinese-ness" in Sinophone films for the past decade, I investigate several problematics raised by Lee's film: In a period film such as Lee's which evokes nostalgia in two senses -- the mise-en-scène of Shanghai in its "isolated island" [gudao] era as a port city where both anti-imperialist patriotism and cosmopolitanism were both at their heights on the one hand; and through the portrayal of an "abandoned" woman, the re-staging of the primal identificatory scene of alienation à la Lacan on the other—what role does the consumption of such nostalgia by audiences both in the East and the West play in the kind of cultural translation frequently associated with Lee's films? If the affect of nostalgia is channeled through both the female and male protagonists' excessive sentimentalism (Wang Chia-chi's emotional outbursts on several occasions in the story and Mr. Yi's display of repressed sorrow in a particular scene added by Ang Lee), to what extent does the visual representation of individual psychic pains reconfigure the national trauma in China's contemporary history? Moreover, what sort of economy of power is constituted by the intertwining of such sentimentalism and the physical violence expressed in the three infamous scenes of Wang and Yi's sado-masochistic sexual intercourses? In other words, to what extent does the transformation, if any, of such traumatic historical memories into a cultural fetish operate as a form of empowerment on the part of Sinophone communities in such cinematic self-representation? Finally, if, as Lee points out himself in an interview, the tragic story narrated in the form of film noir gravitates around a line in Zhang's original story, "the way to a woman's heart is through her vagina," how does one account for the way the dramatization of a woman's psycho-somatic struggle "genders" national consciousness in Lee's film?