New Eassy on Postism: A Study of Leisure-Recreation's Travel Writing

[[abstract]]證諸今日後現代社會的「休閒」與「工作」已不再「二元對立」；冥思默想的休閒遊憩，顯現了知性、感性兼智性的無所不在。若欲瞭解「後現代」的休憩概念，必須以變動社會的觀點，探究日常生活如何休閒化，個人行為怎樣遊憩化。 九O年代以降的「行動科技」，帶給休閒社會巨大的「時空壓縮」，造成遊憩活動從「僵滯的傳統性」轉變為「流動的現代性」。「虛擬休閒」與「想像遊憩」正在取代真實經驗的「身體旅行」。 休憩旅遊是個相當複雜的身心活動：遠離與回歸的反詰辯證、時代與社會的異質同像、全球化與鄉土性的交混雜呈，對旅者的視野、胸襟和氣度，產生了難以述說的影響。 假設說：台灣的休憩理論與研究方法，係西方，尤其是美國的「古董店、「委託行」、「二房東」並不為過。台灣要「去中心」、「解主體」、「脫疆界」，唯有以「後學新論」─ 後現代情境、後殖民理論、後結構主義，解構西方的舶來品，並且正視台灣特有的「練歌場」、「夜市攤」、「菜市場」… 等議題，始能建構本土化的休憩論述。其中，特別是「後現代主義」對休閒遊憩的定義界說產生極大的影響，且不斷迴響於多層次的旅遊空間記述 ─ 透過語言文字提供「心靈映象」；以色彩畫面呈現「視覺影像」，擬仿拼貼、異化內涵，再「後設」疏離與孤絕，而多元分歧景觀書寫的休憩美學。 「漫遊者」的身影是解讀後現代休憩理論的重要概念：藉由旅人的凝視與回顧，讓傳統觀光文化的僵化場域，變成休憩美學的流動空間。休憩的「游牧觀點」主張：「去同質化恐同症」；以「心靈地理學」介入復出異質另類的「再現空間」─ 穿透止居與漂流，形成跨國離散的旅遊驅力，「游牧主義」遂在休憩空間裡迴旋運動。 休憩書寫的「空間再現」，是旅遊作家的感知、構思與幻設空間；存在著「漫遊者」體感真實地 / 景的再隱喻、再意象 ─「空間」從景點逸離；「再現」解放真實。任何休憩空間的再現，均在揭示：旅人的生存空間證實休憩的空間存在；休憩的空間存在演變旅人的生存空間，形成休閒主體與遊憩經驗的結構、解構與重構，是為「後學新論」的「後休憩主義」。 Taiwan has entered a new travel era since the 1990s. Writing literary travel works has become a trend. The travel writing connected with the social changes, has presented diverse and flourishing appearance. The travel writing explores the phenomenon that the scopes of leisure-recreation’s literature are continually expanding due to the more diverse definitions and explanations which are given by the flaneurs. There has been a massive shift from a more or less single travel gaze in the nineteenth century to the proliferation of countless discourses, forms and embodiments of ‘leisure-recreation’ . A simple sense of the globalizing of the travel writing, as multiple texts have become core to global culture sweeping up everywhere in their awesome wake. Global diasporas extends the nomadic quality of post modern social life. There are powerful interconnections of ‘leisure-recreation’ and ‘post-modern culture’ in a writing, text and literature world. The leisure-recreation through the concept of the post-modernism three features: The first is that the leisure-recreation does not have to leave his or her house in order to see many of the typical objects of the leisure gaze, with TV, video and the internet, all sorts of places can be gazed upon, compared, contextualized and gazed upon again. It is possible to imagine oneself ‘really’ there. There is much less of the sense of the authentic, the once-in-a-lifetime gaze. Second, the post-traveler is aware of change and delights in the multitude of choice: Now he wants to behold something sacred; now something informative. One can move easily from one to the other and indeed can gain pleasure form the contrasts between the two. The world is a stage and the post-leisure-recreation can delight in the multitude of games to be played. Third, and most important, the post leisure-recreation knows that he or she is a le flaneur and that recreation is a series of games with multiple texts and no single, authentic leisure experience.” It is expected that in the future, deeper leisure-recreation’s culture will be cultivated, more profound travel writing discourse will be developed, and broader space of leisure-recreation will be opened up