泛非之聲？保羅・史川德與貝索・戴維森《迦納：非洲攝影》中的影像與論述策略

The Voice of Pan-Africanists? : Strategies of Photography and Discourse in Paul Strand and Basil Davidson’s Ghana: An African Portrait

保羅・史川德作為美國現代攝影的代表人物，其早年的抽象、機械與街景攝影經常受到學界的討論；相較於此，其1950年代之後在歐洲及非洲的攝影作品則較少受到關注。學者一般認為，史川德在1950年之後為躲避麥卡錫主義，自我放逐到美國之外，實踐一系列區域性文化歷史的攝影創作。而1963年，他將眼光拓展到非洲的新興國家，在迦納總統夸梅・恩克魯瑪的支持下，走訪沿岸與內陸、耗時四月攝影，並由英國歷史學者貝索・戴維森合作文字論述，完成《迦納：非洲攝影》一書，但此書因政治因素延宕，至1976年才出版。以往的學者只關注此書如何再現恩克魯瑪的重要性面向，卻未曾從戴維森的論述中反思其兩位作者的政治意圖。因此，本研究將探討《迦納：非洲攝影》中影像與文本之間的關係，檢視史川德在戴維森論述中「非洲統一性」的命題下，此書的攝影與論述是否能夠真正實踐反殖民主義式的凝視，從而建立起「泛非主義者」所要求的非洲歷史的主體性。最終，藉由當代理論家史碧華克提出的底層與再現論述，反思史川德與戴維森的「代言者」的合法性。

Paul Strand was a representative artist of early American modernism photography. While his early abstract, machine and street photograph shave frequently discussed by scholars, his works after 1950 have drawn comparatively less attention. Scholars generally agree that Strand self-exiled from the United States after 1950 and carried out a series of cultural-historical works on the given regions. In 1963, he expanded his objects to a new African state, creating Ghana: An African Portrait (1976). Supported by then-president Kwame Nkrumah, he visited Ghana from coastal cities to inland villages, spending four months on photography. British historian Basil Davidson collaborated with him again, writing text for this photographic book. But due to political factors, this photographic book was not published until 1976. Previous research has focused on how Strand represent Nkrumah’s significance in this book, yet no study has examined the political intention of the authors from Davidson’s discourse. Therefore, this study will explore the relationship between image and text in this photographic book, examining under the premise of Davidson’s“African as unity,”whether the images and text could collectively realize the anti-colonial gaze and thus built the subjectivity of African history. Finally, employing theories of subaltern and representation of contemporary theorist Gayatri Chakravorty Spivak, this study will reflect on Strand and Davison‘s legitimacy and soundness of being―the voice of the African.