Title While the Wen-Yen Fiction Meets the Official Newspaper: An Analysis of Li Yi-Tao’s Fiction Flower in the Wasteland Author Huang, Mei-E Professor, Graduate Institute of Taiwan Literature, National Taiwan University Abstract The press played an important role in the development of Taiwan fiction during the Japanese colonial period. Among all, the most important one is the official newspaper called Taiwan Ri Ri Xin Bao, which had had published lots of fiction in installments, and many writers’ works were published on it. Hence, the Wen-yen fiction on the Taiwan Ri Ri Xin Bao and its sister paper Han-wen Taiwan Ri Ri Xin Bao, became the epitome of half Taiwan fiction history. This paper will discuss the relationship between the press and literature; analyze the variation of writing and producing field of fiction before and after the wen-yen fiction were published on the official papers. For further expression, I chose the Li Yi-Tao’s fiction Flower in the Wasteland. Li was a classical intellectual, an author and also a report. The fiction “Flower in the Wasteland” was published on newspaper at the early stages of Japanese colonial period, described a story about a Chinese man Lin Tuan, who came from Quanzhou, Fujian Province, met a Taiwan aborigine woman Chi-mei and then fall in unblessed love. By discussing this fiction, first, I will manifest the symbiosis between the press and literature, which mostly appeared on the relationship between wen-yen fiction, newspaper fiction and official newspaper fiction. Second, I will discuss the contradiction between old and new, politic and entertainment, and the ambiguous between enlightenment and traditions while a classical intellectual became a report, the wen-yen (which means they are old) fiction met new media, and the wen-yen/old fiction became (official) newspaper fiction. Third, through analyzing the text, I will show you the coloniality, the modernity and the popularity of the Flower in the Wasteland, and its culture/politic/literature meaning. Finally, I will point out that the process of the modernity of Taiwan literature is not a unitary linear development, but a multiple process, which has been molded by old and new power.
Title Women’s Boathouse and Men’s Oxcart－An Analysis of messages and discourse of “pawning wives to brothels” in Shen Cong-Wen’s “Husband” and Lyu He-Ruo’s “Oxcart” Author Chen, Wei-Lin Associate Professor, Department of Chinese Literature, National Hsinchu University of Education Abstract Shen Cong-Wen’s “Husband” was written in 1930 and Lyu He-Ruo’s “Oxcart” was written in 1935. Despite the fact that these two well-known works containing their respective metaphors were respectively written in China and Taiwan, they both address the authors’ concerns about ‘pawning wives to brothels’, which reveal social contexts of rural China and agricultural Taiwan, and create a meaningful inter-textual conversation. Rather than writing from “concerns about women” or investigating patriarchal ideology in these writings, this paper emphasizes on the plots of “pawning wives to brothels” where “boathouse” and “oxcart” seem to reflect certain types of social ideology and social symbolic orders. The boathouse and the oxcart are not merely methods of transport or practical agricultural tools; they obviously take leading roles in the discourse of the fictions, and elaborate on messages of “women’s boathouse” and “men’s oxcart”. Therefore, the fictions are a part of a broader reproduction system: “women’s boathouse” reconstructs space of local and gender and “men’s oxcart” symbolizes history and class.
Title Looking for a Deserted Island Urban Memory and Island Image in Qi Deng-Sheng’s Work Author Chiu, Ya-Fang Assistant Professor, Department of Taiwan Language and Communication, National United University Abstract By means of his craft of modernism, Qi Deng-Sheng repeatedly goes through the conflict between self and reality in his work. We may speak that most characters in Qi Deng-Sheng’s stories are the hermits failed in the modern society. He writes the desire, morbidity, immorality, and absurdity of humanity, displaying the notable feature of the writing of the negative. These symptoms are related to the modern city. In his viewpoint, the city is the land on which rogues of all kinds running wild. It not only lets people indulge themselves, but also makes them insane. The force of modernization is dreadful, and the mind of the civilized man is an absurd and desolate land. How to be fitted better in the modern society becomes the everlasting theme in Qi Deng-Sheng’s writings. Only by means of writing can he free his soul and leave away from the unbearable of life. However, since he has not achieved his secular responsibility yet, his body still traps in the city. In his short story “A Tale of Going-out-of-the-City” (Li Chen Chi), going-out-of-the-city is the best description for his helpless frame of mind. Hence, he chooses to exile his mind to a deserted island, and even makes himself become an isolated island. The island image in Qi Deng-Sheng’s work is his way to resist the modern civilization, and the eternal Sa River in his work also signifies his nostalgia which motivates him to keep writing. In this regard, this paper intends to clarify the modernistic figure which Qi Deng-Sheng continues to look after, and examines the urban memory and the island image in his work. In his words, the river and the shore, the woods and the fields, the country and the city, all display the specific landscapes. By the examination of these landscapes, we may explore Qi Deng-Sheng’s life map and his insistence upon the craft of aesthetics.
Title The Extraordinary Daily Life－Lyric Native and Narrative of Running Account Author Liu, Nai-Tzu Assistant Professor, Department of Taiwanese Literature, National Cheng Kung University Abstract In the literary tide of “post-native literature” during the 21st century, the appearance of Running Account is a rather interesting phenomenon. It does not obey the realist practices of traditional native works, but also differ from the current postmodern aesthetics. Therefore the commonly used critical model is not suitable for its analysis. This novel uses the lyric vision to represent Penghu’s local scenes, and suppresses deliberately the continuous and dramatic nature of plots, presenting its daily life in a naturalist style. As the book title declared, the writer displayed her ability to utter in length and in details through its thick pages. The detail descriptions of daily life not only shape its form to the extreme, the content also exposes the living experience profoundly. Its unique esthetics opens up a new kind of style and vision in realist writing, and initiates a critical reconsideration on realism. This research will utilize “lyric vision” and “daily life esthetics” these two concepts to analyze Running Account, in order to highlight / resist the limitation of so-called “normal” in realist literature.
Title The Negative Aspects of Kinji Shimada’s Literature History Author Lu, Kun-Lin Ph.D Student, Graduate Institute of Taiwanese Literature, National Chengchi Univerisity Abstract Discussionsin Taiwanese literary history generally label Kinji Shimada as an “other”, with native critics ignoring his concern for “realism”, and focus on his discussion of exoticism in colonial literature. In addition, critics claim his literary historical essays are unrepresentative of literature history during Taiwan’s colonial period, because he focused on the Japanese colonialists while ignoring native Taiwanese writers. Shimada’s concept of realism was incorporated into the“kuso riarizumu” (feces realism) debate by Nishikawa Mitsuru and Kamada Hayao, who labeled Zhang Wen-huan and Lu He-ruo as proletarian writers. In fact, they expanded the object of Shimada’s definition of colonial literature. Even though Shimada did not appreciate proletarian realism, Nishikawa Mitsuru and Kamada Hayao have deliberately manipulated the political aspects of Shimada’s work to suppress native culture and reorganize the field of colonial literature to match traditional Japanese literary trends. External reviews of the discussions on Shimada’s literature history have three negative aspects. First, from the perspective of native critics, Shimada not only ignored the native colonial writers, but was also over concerned with exoticism. Second, Shimada took the research foundation of French colonial literature as his frame of reference to establish a literary content-based discourse. However, this research approach had a profound impact on his evaluation of the Japanese writers who lived in the colony. Third, Shimada’s evaluation of the legacy of realism in proletarian literature is borrowed in the debate over feces realism by Nishikawa Mitsuru and Kamada Hayao. In this way, Shimada’s literary opinionshave cast an internal literary shadow, and his discussions have become a source of competition for literary initiatives by Japanese writers living in colonial Taiwan.