人的一生有大半時間都在睡眠中做著大夢，很少人沒做過夢，但我們曾經正視過它嗎？甚或是把作夢當作好吃懶做的推託藉口，或是把解夢視為江湖術士的無稽之談？其實，仔細探究我們可以發現，夢中的原始意象是不斷重複且世界共通的，端賴年代、文化、生活形式的差異才衍化出不同的面貌。從本作品立基的「集體潛意識」概念出發，我們甚至可以這樣想像──每個人做的夢裡頭都隱藏著人類物種的生存奧秘。 夢是很有趣的，但它絕不只有趣而已，如同許多夢的學者們說過，夢中的意涵值得我們去探索，作者便一向對於夢境當中是否藏有一群人共同的秘密十分感興趣。除了探索以外，最能讓處於現實（清醒）世界的我們和夢世界溝通的，莫過於透過藝術作品的幫助，可是人類歷史萬年以來，人們總是無法完全地重現夢境，就好像人類無法完全複製一個世界一般；然而這個情況在這近五十年已經有了重大的改變，數位科技的出現，使得藝術跨入新的領域，也開啟夢境再現的無限可能。 從作者的興趣出發，透過長期對於夢這個主題的探索，以及數位藝術時代的恭逢其盛，《群夢屋》這個作品就此誕生。 本作品是以數位平台及技術來體現夢境的特色，夢境內容取材自網路討論版（批踢踢實業坊Dreamland版）的長期且大量的紀錄與分析，在架構設計上則以巴舍拉《空間詩學》中對於空間、物件所帶有的時間封存和記憶感來做為主軸，並且落實其書中討論到，榮格的高低樓層結構相對於理性與神秘的比擬，來創造一間由Flash技術為主體的房子，人們得以在這間《群夢屋》自由穿梭，感受集體潛意識的意象，聆聽源於自己，也來自大眾心底的聲音。 《群夢屋》為一互動性敘事作品，綜合多媒體元素，遊歷其中就如同經歷一場夢境，而且這個夢不是任何一人的夢，是我們共同的夢。 《群夢屋》線上遊歷空間：http://www.cuemark.tw/dreamshouse/ / We are all dreamers. Believe it or not, so many secrets lied on your dreams. Some people discovered that the original images are always repeatedly showing up in dreams. Carl G. Jung named it “Archetype”. It’s a sort of representation from collective unconsciousness. The collective unconsciousness tells something about human beings. Dreams are so touching. We want to represent the complete content of dreams for thousands years. There is nothing suitable for the purpose till now, digital power can achieve anything and it does so to dream arts. The opportunity is there to let us having a try. As an author, I devoted to the “DreamS House” wholeheartedly. Because of the enthusiasm for dreams and the love for digital arts, I tried to collect the data on the BBS board and took the result of analysis into creation process. On the other hands, Gaston Bachelard’s “La poétique de l'epace” were also bringing inspiration to my work. The “DreamS House” is designed as a multiple floors building which has rational and irrational spirits inside. “Flash” technique was used to implement the house. Dreamers can walk through the doorways, hearing deep voices from selves and others. “DreamS House” is an interactive narrative with multimedia form. Once you are inside of it, you are not dreaming alone. Dreamers can just visit ”http://www.cuemark.tw/dreamshouse/”, and experience “DreamS House” in cyberspaces.

本論文考察晚清以降，面對廿世紀的新舊交替，殖民與西學衝擊，在中國南方、台灣與南洋的詩人群體的離散際遇。從他們寫於境外的漢詩創作，探究一個政治／文化遺民的精神處境及漢詩文類的越界與現代性脈絡。漢詩有著源遠流長的傳統，做為士人文化心靈的寄託與投射，漢詩因此成爲一代流亡知識分子銘刻歷史嬗變，見證家國離散的重要媒介。尤其經歷乙未、辛亥兩次政治鉅變，士紳百姓大規模遷徙，文化與文學的播遷軌跡因此日益繁複，漢詩由此構成理解與辯證現代性的種種可能的文學形式與生產空間。本論文處理的時間跨度，始於一八九五年的乙未割台事件，結束在日軍投降、二戰結束的一九四五年。前者從近代中國第一批遺民的誕生展開論述，後者以南來作家郁達夫的失蹤死亡，做為流寓詩學一個曖昧的結束或再生產。 士人在一八九五年以降面臨的時代鉅變，產生了悲憤憂患的國族書寫、現代的時間與地理感受，造就晚清曖昧的政治或文化遺民，並連同中原境內與境外的知識份子，捲入了一種離散現代性的體驗。他們透過文學試圖描述與定位自身的遷徙，卻必須面對時代的變化與衝擊，同時回望、召喚難以斷絕的傳統。這是一個區域漢文學交流與互動的歷史時刻，一個以漢詩為主導文類的文學現場。我們從離散敘事的論述框架，重新觀察了漢詩作為跟隨傳統文化一同陷落的舊文體，如何在地理遷徙的現代時空內，重新架構了詩人經歷的主體飄零、肉身苦難、絕域風土和文教播遷的種種經驗。 這些文人分別在不同區域之間流動，從中國到台灣，從台灣內渡中國，再從中國奔往南洋，三個區域的互涉，凸顯出清末民初的文化遺民型態各異，但又共同處身一個裂變下的帝國解體與現代體驗。無論他們生根中國、台灣，或流寓、移居南洋，文人遊走區域之間，表現出不同的文化想像與文學生產。 本論文選取的四組詩人個案，包括乙未割台時期內渡大陸，後往南洋推展儒教的丘逢甲、在殖民地台灣以遺民自居的王松和洪棄生，流亡南洋的康有為及移居者丘菽園，客死南洋的許南英和郁達夫。這些不同脈絡背景的詩人個案，都同時聚集在一個境外離散式的寫作氛圍。他們的歷史機遇由晚清跨度到民國，不同的主體與客觀經驗，展現了形塑流亡詩學和南方視域的可能。漢詩在海外的不絕如縷，尤其見證一代知識分子或花果飄零，或靈根自植的心路歷程。這些寫在境外的漢詩橫跨新舊文學的分野，在同一傳統／現代交替的歷史結構裡出沒，一再説明漢詩歷久而彌「新」的現代意義。其中內蘊的文類意識，提醒了我們進一步理解漢詩播遷所塑造的區域文學型態，同時藉由這些遺落在海外的詩人足跡，形成地域觀照的「文學現場」脈絡。 / The present study investigates Chinese diaspora in terms of a particular group of loyalist poets scattering in South China, Taiwan, and Nanyang in late Qing, including Qiu Fengjia, Wang Song, Hong Qisheng, Kang Youwei, Qiu Shuyuan, Xu Nanying and Yu Dafu and discusses transcendence and modernity of their Han poetry. This study deals with the time span from territorial cession of Taiwan in 1895 to Japanese surrender /the end of war in 1945. The discussion starts with the emergence of the first group of loyalists in late Qing in 1895 and closes with Yu Dafu’s missing in Sumatra in 1945. During this period of time, social upheaval due to the transition to a new era and the impact from colonization in Taiwan and westernization in China forced common people as well as intellectuals massively migrated and emigrated. For example, Qiu Fengjia exiled from Taiwan to China during the Japanese colonization and later went to Nanyang. Kang Youwei, Qiu Shuyuan, Xu Nangying and Yu Dafu exiled or moved to Nanyang and the later two even died there. Poets in Taiwan, like Wang Song and Hong Qisheng, considered themselves as emigrants from China. Being deserted and colonized, these poets threw themselves into loyalist writing, intending to construct identity in terms of space and time. Drawing upon such loyalists’ works of Han poetry, this study attempts to sketch out those poets’ mental state as political/ cultural loyalists and the way their Han poetry displayed transcendence and modernity. Having an established tradition as the genre to represent the spirits, morals and emotions of intellectuals, Han poetry was naturally chosen by intellectuals to use when they endeavored to depict historical changes and the collapse of a dynasty. Han poetry thus in turn manifested itself as an epitome of diaspora and the loyalists’ state of mind during that period of time. In addition, after Yiwei and Xinhai political upheavals, the emigration formed intriguing paths of disseminating culture and literature. In this context, Han poetry turned out to serve as an important literary form and space, by which we are able to interpret and discuss modernity.