Title China in Murakami Haruki: Mainly on his three novels of Sydney’s Green Street, Slow Boat to China and Hear The Wind Sing Author Fujii Shozo Yeh Hui (Translator) Professor, Faculty of Letters, The University of Tokyo Abstract Murakami Haruki was deeply influenced by China. His first work Hear the Wind Sing (1979) begins as follows: "The perfect writing is not in existence as well as faultless desperation." From this citation, we can see that he might be inspired by "Desperation is as well as hope for nihility" written by Lu Hsun. Murakami Haruki was fond of Lu’s True Story of Ah Q in his high school days and had been attracted by him since then. Afterward, he even wrote the short story the Fall of the Kingdom in which the protagonist named "Q" is an elitist white-collar class. In A Guidance of the Short Stories for Young Readership, which can be regarded as an orthodox literary criticism, Murakami intermittently demonstrates his comments on "Ah Q". In addition, as a son of participant being involved in the aggressive war to China, grown up in harbor city Kobe where the China town is located, since his first short story Slow Boat to China, Murakami Haruki’s works, such as A Wild Sheep Chase, The Wind-Up Bird Chronicle, After Dark and so on, constantly focus on the historical memory of China. I think that Murakami literature cannot avoid the issue of China. This paper will examine the issue of China in Murakami literature with Murakami Haruki 's early works.
Title “Faithful Representations of Such Places”: Charles Le Gendre’s Formosan Landscapes (1868-1875) Author Douglas Fix Li, Hsiao-Ting (Translator) Professor, History Department, Reed College Abstract This article attempts to analyze the 19th-century “Formosan landscapes” sketched by Charles Wm. Le Gendre (U.S. consul for Amoy) in his consular reports and illustrated manuscript entitled Notes of travel in Formosa. Although Le Gendre provided detailed descriptions of Taiwan's territorial space, agricultural production, and commercial potential in his writings, this was only one aspect of his larger perspective. By focusing on Le Gendre's portrayals of space in northern, central and extreme southern Taiwan, I attempt to understand the entirety of Le Gendre's “Formosan landscapes.” This perspective includes detailed analyses of Le Gendre's textual landscapes, as well as his maps, topographical sketches, geological sections, and photographic prints. From this broader analysis, we are able to better apprehend Le Gendre's multiple(and sometimes contradictory) perspectives of a single landscape, and to fully understand the techniques and discourses he employed to render his “faithful representations of such places.”
Title Destination Taiwan! The Construction of Taiwan through Japanese Colonial Travel Writings Author Faye Yuan Kleeman Wu, Pei-Chen (Translator) Associate Professor, Department of East Asian Languages and Civilizations, University of Colorado, U.S.A. Assistant Professor, Department of Japanese Language & Culture, Soochow University／Graduate Institute of Taiwanese Literature, National Chenchi University Abstract During the past decade interest in tourism studies has been rekindled, energized by research into areas such as postcolonial studies and global studies. Recent studies highlight conflicts between globalization and nationalism, ethnicities and authenticities, as well as gender and colonial space, and reveal the ethical implications of the asymmetrical power dynamic of the tourist’s gaze and the native. This body of new research places the movement of human and material culture in the context of colonial and now, neocolonial environments, exploring mobility, diaspora, and tourism through the lens of the colonial enterprise. In light of the politicization of space and the problematization of pleasure, neither the grand tour of monuments nor the private side trip of a personal nature can be viewed naively as just a simple jaunt. Japanese colonialism played a major role in shaping East Asian modernity. The process of modernization (i.e. Westernization), filtered through Japanese imperial intentions, zigzagged through the linkage of cosmopolitan cities from Dalian, Seoul, Tokyo, Shanghai, Taipei, to British colonial Hong Kong. Through an examination of the interactions between these colonial cosmopolitan cities, one can understand the dynamic of the circulation, assimilation, and transformation of a modernity mediated by colonial power. This paper looks at the Japanese literary constructions of Taiwan from the late 19th century to the postwar period by delving into various genres of travel writing and the popular mystery novel in Taiwan. Using materials such as Tokugawa hyōryūki 漂流記, colonial narratives, and the postcolonial detective genre, the paper looks at the Japanese constructions of Taiwan from the late 19th century to the postwar period. It assesses how the image of Taiwan was appropriated to suit the larger ideological landscape of the empire.
Title The Study of Wu Cho-Liu’s Hu Chih Ming Author Kawahara Isao Chang, Wen-Hsun (Translator) Lecturer, SeiKei High School & Nihon University Assistant Professor, Graduate Institute of Taiwanese Literature, National Chenchi University Abstract Wu Cho-Liu's epic The Orphan of Asia, the titles of the original and of the initial version are Hu Chih Ming. From the perspectives of the content, the structure and the plot in this narrative, both Hu Chih Ming and The Orphan of Asia sharing most similarity on the main issue is that how the protagonist mentally suffered and struggled from the prejudice as a Taiwanese. However, after comparing the two works, the most obvious differences between them can be found as follows. First, the name of the protagonist has been changed from Hu Chih-Ming to Hu Tai-Ming. Second, in chapter two, the part of Yueh-Ying who is Hu Chih-Ming's beloved committed suicide and how her death severely shocked Hu Chih-Ming is removed from The Orphan of Asia and the versions after then. Third, the length between Hu Chih Ming and The Orphan of Asia indicates a big gap. The Orphan of Asia is shortened almost to 58% of Hu Chih Ming, particularly chapter four and chapter five as the core of the narrative was even reduced to less than 50%. For this reason, Hu Chih Ming should not be regarded as the same work as The Orphan of Asia. As for the historical stage of this work was set in the period of imperial subject movement, the author Wu Cho-Liu not only criticizes the Governor-General government of Taiwan (the volunteer soldier system, the regulation of rice and grain) and the semiofficial imperial subject public service movement (labor mobilization, fire-fighting drills, excavating shelters , the alternating name movement, abolition of temples, abolition of Taiwanese opera, the distribution of rice and precious metal, the compelling donations and savings), but also demonstrates his antiwar sentiment, his question to the Japanese spirit (for example, demolishing the statue of Goto Shinpei). In addition, he also criticizes the bureaucrats and intellectuals, the Taiwanese who just blindly follow the trend of the times and divert the money into their own pockets by abusing the policy and the author himself for just being a bystander. In Hu Chih Ming, Wu Cho-Liu attacks much more severely rather than in The Orphan of Asia. We can see that Wu Cho-Liu's critical spirits has already exceeded the limits of time and space, not just remaining at the level of Taiwan. Therefore, the self-exploration is another serious issue in Hu Chih Ming.
Title The Multiple Modernity within the 1930s’ Writings on Poverty Author Hoshina Hironobu Mo, Su-Wei (Translator) Associate Professor, Faculty of Law and Letters, University of the Ryukyus Lecturer, China Institute of Technology Abstract Published at Diyixian (The magazine of the Association of Taiwanese Literature) in January 1935, both Hsu Chiung-Erh’s The Modern Scene in the Metropolis of Island and Wang Chin-Chiang’s Rain in the Night capture the silhouette of Taipei under the development at this time. The metropolitan modernity of Taiwanese island portrayed by two writers indicates the light and the shadow of Tataocheng. Centering on Lang-Shih-Sheng’s Darkness (Taiwan Bungei, February 1935) and Huang-shih Pao-Tao’s Life (Taiwan ShinBungaku, December 1935) which were published simultaneously as the works in above, this paper will shed light on the darkness of the internal Tataocheng and the under-going economical and the social corruption in the metropolis of Taiwanese island and the other locals. At the same time, this paper will also examine how the colonial administration kept watch over the situation of poverty.
Title War, Assimilation and Class: Shiganhei and the Pursuit of Citizenship Author Mo, Su-Wei Lecturer, China Institnte of Technology Abstract Shiganhei（「The volunteer」，1941） is Shu Kin-Pa’s first novel based on the scene of war. And it also became the starting point for Shu to contemplate the question of imperialization. Since then, his relatively short literature career is inevitably entangled with the subject. Shiganhei without precedent narrated itself through the subjective perspective, which on the other hand unfortunately coronated Shu as an archetypical Kominbungaku writer. Most criticisms perceived Shiganhei is intending to express a unquestionable identification towards Japanese colonial authority without due reflection, so could only be characterized as a sheer product of colonial policy. Such interpretation, however, neglects the public sphere created by the novel with intention as a forum of dialect over the major themes such as citizenship, assimilation and ethnicity. This article is trying to evidence that the author used Shiganhei to provide an arena for the diminution of identification crisis of the islanders. A dialect is therefore created by the author which allows the characters in the novel representing diversified classes to talk to each other utilizing their common tone. And the narrator is designed as a gazing infrastructure to accommodate all possible alternatives. The forum created through Shiganhei is not the final prospect per se, but the reflection of differentiated ends pursued by the colonial humanity. Since Shiganhei actively allows certain curiosity and personal perspectives over the imperial value.
Title The Vagarant Town In The Suburb of Tokyo: Observed By An Outlander Ong Lao Author Huang, Yu-Ting Graduate Student, Department of Comperative Literature, The University of Tokyo Abstract In 1934, a young man of colonial Taiwan came to Tokyo, in the same year the 3rd enlarged Central Committee of Japan Proletarian Writers Union declared their disbanding. Ong Lao was born and bred in a poor farming village in Jong-hua, Taiwan. Aiming for the inland literary sphere, he came to the empire’s capital, Tokyo, but was rumored to have died in a mental hospital in his early thirties. As a consequence of dying young, he leaves few works and is neglected not only in Japanese but also in Taiwanese literature studies. In spite of this scarcity, we still can piece together the days he spent in Tokyo from his essays like The Vagarant Town In The Suburb of Tokyo. In this essay, we see intellectual vagarants wandering around the suburb, Kōenji, and how much Ong was enthralled by the vagarious atmosphere. Writers like Lyūtanji Yū and Suzuki Kiyoshi also testified that under the circumstances, most of the proletarian leaders were arrested by coercion in the 1930s, and many of the remainders were gathered in the neighborhood of Kōenji. There were also anarchists gathering around this place, according to Ong’s essay mentioned above. Among them, waitresses, dancers, artists returned from Paris, bobbed hair youths, drunks, Chinese, Manchurians, and people from colonies like Taiwan also were rambling around the town, constituting a cosmopolitan atmosphere in this place. In essays like Notes on Poems, Ong shows pretension to “be isolated, naïve, ” “always go after the spiritual elegance that distinct from common,” and “listen to music which is alien to others, be fascinated with paintings painted by nameless artists. ” However, at the same time, he insists that a highbrow should care not whether or not people acknowledge him. Despite his pretension, he revealed a strong ambition to advance to the inland literary sphere in his essay The Vagarant Town In The Suburb of Tokyo. However, his hope cannot be easily fulfilled. Like other obscure writers in the Kōenji neighborhood like Nii Itaru, Kamiwaki Susumu, Komatsu Kiyoshi, Ong gains no attention till his end and is forgotten from the history with his ages. In this report, I venture to treat the vague “Kōenji neighborhood” subject in order to contour its inhabitant and its atmosphere in the 1930s. The unique vagarant atmosphere shaped the character of the Kōenji neighborhood, since it had been actively used in works with certain significance that gives it a ripe meaningful terminology. From Ong Lao’s reflections, one can view the marginal and particular space of Kōenji neighborhood.
Title Interpretation and Application of Myths: From Three Mythic Legends of Kumu Tapas Tribe Recollection: Narration History of Wushe Incident Author Liu, Yu-Ling Graduate Student, Ph. D Program, Department of Folk Literature, National Hualien University of Education Abstract In the scientific modern society, ancient myths seem distant from present people; however, in certain degree, some scholars think that living conditions now are similar to original mythic world. Even people cannot create myths with current thoughts, but basic mythic elements still exist in the world. People satisfy their own fantasy and fill up their belief vacancy by virtual mythic world, such as novels and movies. Moreover, old myths of memories pierce through times and present today with different appearances and shapes. For instance, because myths are still animated in the folks of Taiwanese aborigines, the relationship is very tight between tribes and society. This kind of close relationship can be glimpsed from the active attitude toward interpretation and application of the myths.