龔鵬程對(duì)話海外學(xué)者第一百零八期：在后現(xiàn)代情境中，被技術(shù)統(tǒng)治的人類社會(huì)，只有強(qiáng)化交談、重建溝通倫理，才能獲得文化新生的力量。這不是誰(shuí)的理論，而是每個(gè)人都應(yīng)實(shí)踐的活動(dòng)。龔鵬程先生遊走世界，并曾主持過(guò)“世界漢學(xué)研究中心”。我們會(huì)陸續(xù)推出“龔鵬程對(duì)話海外學(xué)者”系列文章，請(qǐng)他對(duì)話一些學(xué)界有意義的靈魂。范圍不局限于漢學(xué)，會(huì)涉及多種學(xué)科。以期深山長(zhǎng)谷之水，四面而出。

卡羅拉·博伊斯·戴維斯教授（Professor Carole Boyce Davies）
美國(guó)康奈爾大學(xué)非洲學(xué)教授/英語(yǔ)文學(xué)教授
龔鵬程教授：您好。您正在撰寫(xiě)一本關(guān)于“非洲移民中的黑人女性和政治領(lǐng)導(dǎo)力”的書(shū)，此前于2018年您還發(fā)表了一篇關(guān)于米歇爾·奧巴馬的論文。黑人女性政治領(lǐng)導(dǎo)人對(duì)美國(guó)乃至全球的非洲女性有怎樣的影響？
卡羅拉·博伊斯·戴維斯教授：龔教授，您好。我的書(shū)名叫做《黑人婦女權(quán)利》（ Black Women's Rights）。Rowman和Littlefield出版社的Lexington Books亦將于9月出版《領(lǐng)導(dǎo)力與權(quán)力循環(huán)》（ Leadership and the Circularities of Power）（附封面）。我的主要論點(diǎn)是，如果我們想要真正談?wù)撈降龋覀儾粦?yīng)該滿足于讓一到兩名女性擔(dān)任領(lǐng)導(dǎo)，而實(shí)際上需要50%的代表性。
對(duì)我來(lái)說(shuō)，這是一個(gè)“權(quán)利”問(wèn)題，因?yàn)閶D女代表了世界的一半，因此，她們應(yīng)該得到世界上一半的資源、代表權(quán)，并有權(quán)決定如何利用這些資源來(lái)建設(shè)一個(gè)更美好的世界。我們認(rèn)識(shí)到，在如今男性占主導(dǎo)地位的世界中，往往有將資源浪費(fèi)在戰(zhàn)爭(zhēng)和沖突上的趨勢(shì)，而人類的基本需求沒(méi)有得到滿足，并且環(huán)境也在退化。
黑人女性作為政治領(lǐng)袖的影響力在于，她們讓年輕一代看到，有可能真正領(lǐng)導(dǎo)并努力實(shí)現(xiàn)一個(gè)變革的世界。
我認(rèn)為，在非洲和加勒比地區(qū)，女性更有可能獲得領(lǐng)導(dǎo)權(quán)，那里有平等機(jī)會(huì)的運(yùn)動(dòng)，而在美國(guó)和歐洲，白人和男性的統(tǒng)治如此根深蒂固。我相信世界其他國(guó)家將從這一增長(zhǎng)中受益。例如，古巴領(lǐng)導(dǎo)層中的女性比例已經(jīng)達(dá)到52%。已有證據(jù)表明，21世紀(jì)將見(jiàn)證全球女性領(lǐng)導(dǎo)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(xué)術(shù)貢獻(xiàn)。您對(duì)美國(guó)的亞洲（尤其是中國(guó)）僑民研究有哪些建議？
卡羅拉·博伊斯·戴維斯教授：關(guān)于非洲僑民的工作一直以來(lái)都十分穩(wěn)定，首先是積極分子的工作，他們實(shí)際上從1900年會(huì)議起就提出了泛非主義的邏輯；非洲和加勒比海地區(qū)的獨(dú)立運(yùn)動(dòng)，20世紀(jì)中葉的人類學(xué)家實(shí)際上描述了這些分散在全世界各地的社區(qū)，以及20世紀(jì)80年代和90年代文學(xué)領(lǐng)域的智力工作。
我認(rèn)為，所有這些對(duì)不同僑民的研究都是不可或缺的，因?yàn)樗鼈儼殡S著不同地區(qū)的人們的運(yùn)動(dòng)。例如，隨著加勒比海運(yùn)動(dòng)向歐洲和北美地區(qū)的轉(zhuǎn)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(kāi)展更多的項(xiàng)目，從藝術(shù)、文學(xué)、政治和各個(gè)領(lǐng)域研究這些移民；會(huì)議、出版物，以傳播信息。
一些國(guó)家還建立了海外僑民的領(lǐng)導(dǎo)階層，以便他們的社區(qū)能夠在國(guó)內(nèi)有代表。目前，這些社區(qū)的年輕學(xué)者正在研究和代表加勒比地區(qū)的中國(guó)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(shū)面文學(xué)的主要特點(diǎn)有哪些？加勒比文學(xué)史上的口頭文學(xué)與書(shū)面文學(xué)有什么樣的關(guān)聯(lián)？
卡羅拉·博伊斯·戴維斯教授：加勒比海的口頭文學(xué)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(shī)歌體裁、歌曲、押韻、詩(shī)歌等方面定型為神話、傳說(shuō)、故事、諺語(yǔ)、謎語(yǔ)。事實(shí)上，嘻哈音樂(lè)中流行的許多口語(yǔ)類型，與加勒比海地區(qū)的語(yǔ)言使用方式，以及非洲裔美國(guó)口語(yǔ)文學(xué)有著密切的關(guān)系，這些口語(yǔ)文學(xué)是非洲文學(xué)傳統(tǒng)的前身。
口語(yǔ)與書(shū)面語(yǔ)有關(guān)，因?yàn)樽骷覀兘?jīng)常表現(xiàn)出與口語(yǔ)傳統(tǒng)的互文關(guān)系，就像加勒比文學(xué)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(shī)中，可以看到拉斯塔法里傳統(tǒng)（Rastafari traditions）中詩(shī)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(shuō)《奇妙的恐懼方程式》（ The Marvelous Equations of the Dread）（2019）故意使用她所說(shuō)的貫穿牙買(mǎi)加文學(xué)的“低音節(jié)奏”（bass rhythm）。馬龍·詹姆斯（ Marlon James）在他的各種小說(shuō)中也是如此。事實(shí)上，他們都表示，他們有意在作品中使用一些口頭傳統(tǒng)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(qū)別和相似之處是什么，比如在社會(huì)和政治生活中，或在文學(xué)世界中？
卡羅拉·博伊斯·戴維斯教授：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(guò)幾個(gè)世紀(jì)非洲人口的遷移而逐漸行程的。整個(gè)過(guò)程伴隨了人口層面變化，當(dāng)今的經(jīng)濟(jì)和通信結(jié)構(gòu)的形成，以及全球化意圖和政治認(rèn)同等方面，而不單單是全球化進(jìn)程下經(jīng)濟(jì)壓迫的產(chǎn)物。
非洲人散居（African diaspora）則是指非洲人通過(guò)自愿移民（前哥倫布時(shí)期的大西洋和印度洋貿(mào)易和探險(xiǎn)旅行）的分散，強(qiáng)迫移民（印度洋跨大西洋和跨撒哈拉奴隸制度，在現(xiàn)代至少持續(xù)了四個(gè)世紀(jì)）和誘致移民（20世紀(jì)和21世紀(jì)由于世界經(jīng)濟(jì)不平衡導(dǎo)致非洲人民的分散）。因此，這導(dǎo)致非洲人民在一系列國(guó)際地區(qū)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(qū)與亞洲離散群（印度和中國(guó)）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(xù)性受到了破壞，他們對(duì)于家族的了解也被切斷。因此，對(duì)于許多非洲僑民來(lái)說(shuō)，除了現(xiàn)在流行的DNA連接之外，幾乎沒(méi)有機(jī)會(huì)真正了解自己的家族血統(tǒng)，因?yàn)槠渌⒕尤后w仍然可以了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象力的電影、詩(shī)歌和敘事形式探討了這個(gè)問(wèn)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.

龔鵬程
龔鵬程，1956年生于臺(tái)北，臺(tái)灣師范大學(xué)博士，當(dāng)代著名學(xué)者和思想家。著作已出版一百五十多本。
辦有大學(xué)、出版社、雜志社、書(shū)院等，并規(guī)劃城市建設(shè)、主題園區(qū)等多處。講學(xué)于世界各地。并在北京、上海、杭州、臺(tái)北、巴黎、日本、澳門(mén)等地舉辦過(guò)書(shū)法展?，F(xiàn)為中國(guó)孔子博物館名譽(yù)館長(zhǎng)、臺(tái)灣國(guó)立東華大學(xué)終身榮譽(yù)教授、美國(guó)龔鵬程基金會(huì)主席。