Title Chien Cheng-chen’s Phenomenological Poetics Author Chen, Chun-Jung Professor, Department of Language & Creative Writing, National Taipei University of Education Abstract Chien’s poetics is mainly originated from the phenomenologist Edmund Husserl, Martin Heidegger, Georges Poulet, Wolfgang Iser and the others. He opposes to read the poems with theory, and advocates the “sensible reading” to interpret the works. This reading echoes on Husserl’s “theory of suspension”. In line with the idea of “criticism of consciousness” of Poulet , Chien also emphasizes that the readers should share a creative consciousness with the author and consciously communicate with consciousness in the works. According to the “blank” view written by Iser, Chien puts forward the theory of the “gap aesthetics”, and advocates that the reader should hear the overtone of the blank outside the text for “there is no gap, no poetry”. In accordance with the above discussion, it can be said that Chien is undoubtedly not only a poetic phenomenologist, but also a unique poetic theorist in the Taiwan poetic circle. He sets up his own status of the poetic theorist in Taiwan.
Title The Line of the Fiction Author Fan, Ming-Ju Distinguished Professor, Graduate Institute of Taiwanese Literature, National Chengchi University Abstract The basic content of the fiction is to tell the characters’ encounter and feeling from one point to another, and the line is the path through here and there. The road, what I also called line in this essay, usually is a subordinate or supplemental space, serving as linking or background, of the story. Although its position is less important than the point, the line occasionally serves as the main space in a few famous stories. What kinds of stories choose the line to be the main space instead of the point? Why? This paper will explain the fundamental function of line in the fiction, then to explore in details the themes and characteristics of Taiwanese fictions which locate the main space on the road. In so doing, we could have an explicit whole picture of the usage of line in the fiction.
Title A Prisoner Away From Prison: The Concepts of Self-Discipline and Mutual Healing as Observed in Zhang Da-xiou’s Letters to Green Island Author Li, Chi-Hau Assistant Professor, General Education Center, National Formosa University Abstract Zhang Da-xiou (1906-1983) was a classical poet who rose to fame in Taiwan after World War II. In 2007, his family members published Letters to Green Island, revealing the distress that he had experienced as the father of someone who was subjected to the White Terror. This book comprises letters that Zhang Da-xiou mailed to his son Zhang Zhen-teng on Green Island. Knowing that his letters would be read by prison officers, their content embodied “self-discipline,” demonstrating his obedience to the prison officers while teaching his son about various matters. In addition, Zhang Da-xiou portrayed personal connections and thoughts that conformed to the ideology of the prison officers. He emphasized his desire to reclaim mainland China in order to gain the trust of the prison officers so that the safety of his son could be ensured. In effect, Zhang Da-xiou was also a “prisoner” because of the self-discipline that he had to practice when writing the letters. However, the letters also facilitated spiritual healing. In the letters, family changes and descriptions of hometown scenes during Zhang Zhen-teng’s long imprisonment were stated, creating an image that induced spiritual healing. The book illustrates the sorrow of families in the face of the White Terror in addition to the hope that, despite miscarriages of justice, their families would be complete once more.
Title Sinophone Literature as Places-Based Production: On the Predicament of Sinophone Malaysian Literature in Taiwan Author Zhan, Min-Xu Project Assistant Professor, Graduate Institute of Taiwan Literature and Creative Innovation, National Chung Cheng University Abstract Sinophone studies tend to conceptualize “Sinophone” in terms of the dialectics between the dominant Chinese culture and its local variations in the Sinophone world. The importance of place-basedness is often underscored. Though seemingly opposed, both Shih Shu-mei’s call for “postcolonial resistance against diaspora” and Wang David’s theorization of “post-loyalism” treats “Sinophone” as a hybridized, heterogenous, and place-based production that is distinctive from the authentic Chinese culture. This article argues for the consideration of Sinophone literature as multiple places-based production, and challenges the dominant discussions of (one) place-basedness. To illustrate the multiple places-based production in a transnational context, it examines the reception and reproduction of Sinophone Malaysian literature in Taiwanese literary awards and poses timely inquiries into the definition of Sinophone literature.
Title Culture Translation and Identity Edit of Novel of Sinology by Sie Syue-yu in the Japanese Colonial Period: From “San Sh Ing Syong Jhuan”, “Ing Hua Meng” and “R Hua Ing Cih Jhuan” as the Central Author Wang, Shao-Chun Ph. D, Department of Taiwan Culture, Languages and Literature, National Taiwan Normal University Abstract Current researches on the traditional literati Sie Syue-yu’s multiple identities and backgrounds are mainly from issues of Sinology, popular culture-writing, the Same-Culture policy and the discussion in East Asia to discuss Sie’s Sinology, Sinophone Writing and political philosophy. Inherited and inspired by prior studies, I would like to further explore how Sie Syue-yu viewed the “traditional” culture and identity which was broken by Imperialism when standing on the position of “Taiwan” in Imperial colonized period. Therefore, my attempt is to discuss three novels of Sinology by Sie Syue-yu: “San Sh Ing Syong Jhuan” (1912-1913), “Ing Hua Meng” (1934-1935) and “R Hua Ing Cih Jhuan” (1937-1938) as the main text to discuss how he used the “traditional capital” to translate and edit the culture and identity of “selfness”, and how he interpreted “Taiwan”.