幼稚化
糖
可口可乐
乡村想像的弱化
最后的相遇：甘地遇刺之政治
武士、蛮夷之地与荒野：论意见之可闻与文明之未来
民族主义，真诚与欺骗：关于印度两种早期后民族主义论调的姗姗来迟的讣告
Infantilization
Sugar
Coca-Cola
The Decline in the Imagination of the Village
Final Encounter: The Politics of the Assassination of Gandhi
Shamans ,Savages and the Wilderness: On the Audibility of Dissent
and the Future of Civilizations
Narionalism, Genuine and Spurious: A Very Late Obituary of Two
Early Post-Nationalist Strains in India
內容試閱：
民族主义，真诚与欺骗：关于印度两种早期后民族主义论调的姗姗来迟的讣告1
民族主义不是爱国主义。民族主义是一种意识形态，用与其它意识形态一样的方式配置于人类性格中。它在殖民时期作为民族国家的配件，骑在肩上进入亚非世界。爱国主义是一种非特定的情感，围绕人类和好些其它种类生物共通的领地形态而产生。这一未被承认的差异是对印度国父甘地的传统民族主义和罗宾德拉纳特?
泰戈尔对民族主义的全面拒绝这两者的激烈批评的核心。
维奈?拉尔告诉我们，印度人是根深蒂固的纪录追求者。2吉尼斯世界纪录从未从其他国家收到过这么多的认证申请——至少有十分之一的申请都是从印度发来的，有一些还真的破了纪录，其中有22年来始终站在村里路边同一地点的静默虔诚的人，也有为了创造微书纪录而在一颗大米上写了1314
个字的人。3奇怪的是，恰恰有一项独特的纪录印度人竟没有去申请。在民族国家存在的这350年历史中，它有一项无与伦比的成就，而且只要民族国家的体系继续存在，这项纪录就不可能被打破。罗宾德拉纳特?泰戈尔，公认的印度民族诗人，印度国歌Jana
Gana Mana（直译：印度晨歌）的词曲作者，印度的另一首国歌，由班金齐德拉?查杜柏提作词的Bande
Mataran（英语直译：母亲，我向您鞠躬）的作曲。同时也是孟加拉国国歌的词曲作者。最近几年，反印情绪在孟加拉国有所增长，而该国的原教旨主义运动也在萌芽之中，这种运动仇视任何印度或者印度教的东西。不过，就我所掌握的情况，目前还没有任何声音出来反对泰戈尔所创作的国歌。这还不是全部。泰戈尔还为斯里兰卡的国歌谱曲，虽然歌词不是他写的。同样的，斯里兰卡人可能和印度这个国家也不总能愉快相处，但他们似乎和印度的民族诗人却很融洽。
泰戈尔并非特例；与之类似的，还有其他没那么戏剧化的例子。在这里我要提一下一首歌Sare Jahan se
Accha（直译：高于全世界），这是民族诗人、巴基斯坦开国之父之一的穆罕默德?伊克巴尔（Mohammad Iqbal，1873
—1938
）谱写的。这首歌是印度陆军主要的行军歌曲——甚至在同巴基斯坦军队作战的时候也唱这支。很明显，在南亚，“领土（territoriality）”的概念和“民族文化”的概念在操作中略有不同。
在1913
年获得诺贝尔奖之后，泰戈尔成为了一名泛亚洲英雄。他是第一个获得诺贝尔奖的亚洲人，而且他获奖时殖民主义正如日中天。这一点很重要。1916年，当一战在欧洲正如火如荼之时，泰戈尔第一次去日本作巡回演讲。当他抵达神户时，日本人非常热情地欢迎了他。在有些地方，他受到如前来国事访问的君王一般的礼遇，他的动向被日本一些报纸的头版所报道。不幸的是，泰戈尔所做的一部分演讲是关于民族主义的。今天，这些演讲可能不会被视为多么激进和令人不安；有些观点现在听来已经耳熟能详，尽管有些看来还是非常新鲜和富有煽动力。4但没有一个观点是会把东京湾点燃的。然而，当时日本人正处在一种相当狂乱的民族主义剧痛之中，而泰戈尔对民族主义的批评令他们感到极度不安。演讲里不仅有对民族主义激发的军国主义和帝国主义的严厉控诉，还有针对日本新近打造的将自身置于欧洲或民族主义的思想之中心的这种政治面貌的暗讽。泰戈尔坚持认为，日本的危险之处“不在于模仿西方的外在特征，而是把西方民族主义的原动力当成她自己的来接受。”5大部分日本报刊和知识分子都感到气愤难堪，而把演讲的内容解释为一个来自于被击败的文明的诗人的东拉西扯（正如泰戈尔在1924
年访问中国的时候，出于另一类原因，某些中国人所做的一样）。仰仗日本不久前获得的帝国光辉以及成为新的全球强国的胜利，这些人把泰戈尔当做是眼中钉肉中刺。泰戈尔抵达东京火车站时，曾受到数千群众的欢迎；而当他离开日本的时候，据说，只有一个人来送别——接待他的主人。6
民族主义在殖民时期印度也并不短缺。许多印度人也觉得泰戈尔的行为奇怪，虽然还不至于觉得他无法解释或出人意料。他们对使人的反应在很多方面与他在日中两国受到的反应相容。7他已经因为反对民族主义暴力而引起了死硬派印度民族主义者的敌视；他们都准备好了听泰戈尔说出最严重的话来。他的三本小说，《戈拉》（Gora,1909年），《家庭与世界》Ghare
Baire,1916年，和《四章》 Char
Adhyay,1934年，被视为对锋芒毕露的、男性气质的民族主义的直接攻击。它们伤害了许多出于政治正确的原因而必须吞咽这些书的读者的感情。因为，吊诡的是，泰戈尔已经是印度非官方的民族诗人了。他不仅写下了数百首爱国主义歌曲，这些歌还鼓舞了许多印度的自由斗士——从莫罕达斯?卡拉姆昌德?甘地，到那些承受警察的警棍和子弹的卑微的志愿者和抗议者。即使在监狱里，许多自由斗士也高唱泰戈尔的歌曲来保存士气。
Nationalism, Genuine and Spurious: A Very Late Obituary of Two
Early Post-Nationalist Strains in
India
Indians, Vinay Lal tells us, are inveterate record seekers.
From no other country does the Guinness Book of Records receive so
many applications for recognition – at least one-tenth of all
applications to the Guinness Book emanates from India – and some of
them do get into the book – from the silent holy man who stayed on
the same spot on a roadside in a village for twenty-two years to
someone who wrote 1,314 characters on a single grain of rice to set
a record in micro-writing. Strangely, the record that the
Indians have not claimed is a unique one; it involves an
achievement that has not been equalled in the
three-hundred-fifty-year-long history of nation-states and is
unlikely to be broken till the nation-state system survives.
Rabindranath Tagore 1861–1941, by common consent India’s national
poet, who has written and scored India’s national anthem, Jana Gana
Mana, is also the composer of India’s other national anthem, Bande
Mataram, written by Bankimchandra Chattopadhyay. Tagore also
happens to be the writer and composer of the national anthem of
Bangladesh. In recent years, anti-India sentiments have grown in
Bangladesh and there is also a budding fundamentalist movement in
the country, hostile to everything Indian or Hindu. Yet, not one
voice has been raised, to the best of my knowledge, against the
national anthem written by Tagore. That is not all. Tagore has also
scored Sri Lanka’s national anthem, though he has not written the
lyric. Sri Lankans, too, may not always live happily with the
Indian state, but they seem to live happily with India’s national
poet.
Tagore is not alone; there are other less dramatic instances of
the same kind. I could mention here the song “Sare Jahan se Accha”
of Mohammad Iqbal, the national poet and one of the founding
fathers of Pakistan, which constitutes the main marching song of
the Indian army, even when it marches to fight the Pakistan army.
Obviously the concepts of territoriality and “national culture”
work trifle differently in South Asia.
After he won the Nobel Prize in 1913, Tagore became a pan-Asian
hero. He was the first Asian to win a Nobel Prize in any subject
and he did so in the high noon of colonialism. That mattered. In
1916, when World War I was raging in Europe, Tagore went to Japan
for the first time on a lecture tour. When he arrived at Kobe, the
Japanese welcomed him very warmly. At some places, he was treated
like a monarch on a state visit and his movements were reported in
the front pages of some Japanese newspapers. Unfortunately, some of
the lectures Tagore delivered were on nationalism. Today, they may
not seem disturbingly radical; some of the arguments are now
familiar, though others look remarkably fresh and
provocative. But none of them is likely to set the Bay of
Tokyo on fire. However, at the time the Japanese were in the throes
of a rather delirious version of nationalism; they found Tagore’s
critique of nationalism terribly disconcerting. Not only were there
in the lectures a severe indictment of militarism and imperialism
inspired by nationalism, there were in them snide comments on
Japan’s newly forged political self centring on the idea of
European-style nationalism. What was dangerous for Japan, Tagore
insisted, was “not the imitation of the outer features of the West,
but acceptance of the motive force of the Western nationalism as
her own.” Embarrassed and angry, most Japanese newspapers and
intellectuals explained away the contents of the lectures as the
ramblings of a poet from a defeated civilization as some Chinese
were to do for a different set of reasons, when Tagore visited
China in 1924. Basking in Japan’s newfound imperial glory and its
success as a new global power, they found Tagore to be a pain in
the neck. When Tagore had arrived at Tokyo railway station,
thousands came to welcome him. When he was leaving Japan, it is
said, only one person came to see him off – his host.
Nationalism was not in short supply in colonial India either.
Many Indians also found Tagore’s behaviour strange, though not
inexplicable or unexpected. Their response to the poet was in many
ways compatible with the response to him in Japan and China. He had
already antagonized hardboiled Indian nationalists by rejecting the
idea of nationalist violence; they were prepared to expect the
worst from him. Three of his novels – Gora 1909, Ghare Baire
1916 and Char Adhyay 1934 – were seen as direct attacks on
hard-edged, masculine nationalism. They hurt the sentiments of many
who had to gulp them for reasons of political correctness. For
paradoxically, Tagore was already India’s unofficial national poet.
Not only had he written hundreds of patriotic songs, these songs
were an inspiration to many participants in India’s freedom
struggle – from Mohandas Karamchand Gandhi to humble volunteers and
protesters facing police batons and bullets. Even in jail, many
freedom fighters kept up their spirits by singing Tagore’s
songs.
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