英文摘要 |
This article explores the diversity of attitudes held by urban residents toward stray animals by discussing Yi-Chun Lo’s and Yun-Fei Tou’s animalrelated works. It also discusses how they, when depicting their experience with strays, reveal their own way of interacting with the animals. Although many urban studies regard civilization and nature as interpenetrating, and thus claim that it is impossible to rigidly demarcate the border between the two, most urban residents are still inclined to the view that stray animals should be expelled from their civilized, ordered city space. Consequently, “abandonment” becomes the motif when the encounters between citizens and strays are to be represented. Overwhelmed by the apathy of this “hard-boiled wonderland,” Lo attempts to change urban residents’ callous indifference to the misfortunes of strays: he not only saved some puppies from the public animal shelter but also started to write down touching stories about strays. As for Yun-Fei Tou, he photographs the last moment of stray dogs and publishes the collection of these images under the title of Memento Mori. Notably, Tou’s portraits of the strays are deliberately huge so that the viewers are unable to look aside when facing them and their death executed by the city authorities. Perhaps Tou hopes that people will reexamine their ways of treating animals after they recognize, with the aid of his photography, how bright or gloomy these stray animals once were. It also presses us to consider further if it is possible for human beings to co-exist with animal inhabitants in the urban space. |