Title Inheriting the Past and Passing on the Future: Yang Kui and Taiwanese Literary Tradition in the Early Post War Period Author Huang, Hui-Chen Associate Professor,Department of Taiwan Languages and Communication, National United University Abstract After the war, free from Japanese colonial rule, and coming out from under the shadow of the Komin literary, Taiwan's Neo-Literary movement began again. This was a crucial moment for which route the development of Taiwanese literature would take so it was unavoidable that the remnants of the literary tradition under Japanese rule were destined to be purged. Due to his lofty status in literary circles and because of his resistance to Japan's colonial rule, Lai He's writings were quickly reintroduced when the Chinese Nationalists took control of Taiwan. The Critical Realistic literary tradition that had been cut off under Japanese rule began to develop once again. This essay, based upon Yang Kui's literary activities in the initial stages of post-war Taiwan, explores how Yang Kui continued the process of inheriting past literary traditions and passing them on to the next generation of authors in the building and constructing of Taiwan's Native literary movement. Yang Kui's introduction into this process of passing down tradition was through the writers Lin You-Chun and Lai He. Their literary status and achievements were equivalent to Lu Xun and his literary spirit, to which Yang Kui made comparisons with the style and spirit of their writing. Yang Kui continued this process of entrance into the Taiwanese literary world through his guidance, support, and promotion of young up-and-coming Taiwanese authors. He was even involved in encouraging and instructing the members of the youth literary group, The Silver Bell Club. I will further show that in post-war Taiwan the Chinese government planned to totally supplant Taiwanese culture with Chinese culture. Yang Kui's passing on of anti-colonialist literature from the time of Japanese rule not only had meaning for that time, but also spoke to the struggle in Taiwan during the early post war years, and demonstrates his personal identification with Taiwan and the independent character of Taiwanese literature.
Title From an Imperial Adolescent to a Left-Wing Young Man: on Yeh Shih-t'ao's Fiction Writing and Thinking Transformation in the Early Period of Post-WWII (1945-1949) ln Taiwan Author Chen, Cheng-Chung Assistant Professor, The Graduate Institute of Taiwanese Literature, National Chung Hsing University Abstract Through the study of Yeh's case, we are able to observe how a colonized mind (as an Imperial Adolescent), in struggling against colonialism and in experiencing the stages of yielding and rethinking, eventually transformed these processes into a pursuit of his own subjectivity. In examining Yeh's works during the early Post-WWII period as a whole, we divided them into two categories. One of them is Realist novels that deal with Taiwan's contemporary reality. Yeh, a Left-Wing young man, started from “personal” Romanticism under the influence of Nishikawa Mitsuru and transformed into “social” Heroic Romanticism that is a kind of “re-liberalized” revolutionary historic view. The other is historical novels which deal with Taiwan’s historic events in the past 400 years. Yeh employs his premature writing skills (his colonial legacy) to finish these historic novels. At last, the “hybridity” of culture and national consciousness accomplishes Yeh’s state of mind and orientation of identity. Under the twist of history, a “tongue learner” (mimicry) and at the same time a colonial son transforms difficultly into a national self. Yeh's case represents a rare historic experience of a colonial island in the colonial history.
Title “Culture and Literature Column” of the Taiwan Daily and Its Editor-in-Chief Kishi Tojin Author Matsuo Naota Lecturer, WuFeng Institute of Technology／Graduate Student, Ph. D Program, Department of Taiwanese Literature, National Cheng Kung University Abstract The Taiwan Daily was published in Tainan in 1937. The fourth page of its evening version reported many cultural and literary events. Though not labeled as such, it was in effect a culture and literature column. For convenience’s sake, I shall call the fourth page of the Taiwan Daily as “Culture and Literature” column. This article intends to describe the background and circumstances of the literature works printed on the Culture and Literature column; in addition, through comprehensive reading of Taiwan resident writers’ works, to infer the trend and style of the column. I will first examine the history of the Culture and Literature column, collection of the copies of newspaper, the biographical background of its editor-in-chief, Kishi Tôjin, as well as the column’s layout. Secondly, I will explore the creative inclination of these writers and point out that Taiwan being the theme of their academic research or creative writing. As for the genres, essay was the mainstream. While the Japanese poem tanka（短歌）flourished, fiction was less popular. This article maintains that the Culture and Literature column influenced the literary activities of Southern Taiwan in the early 1940s. The column also contributed to the island-wide cultural boom that was centered on Taipei. Its editor-in-chief Kishi Tôjin’s role is especially of critical importance.
Title A Generation in the Representation of the Taiwan Colony during Wartime: An Example of the Lecture Visit to Taiwan by the Liberal Arts Homefront Movement in 1940 Author Yang, Zhi-Jing Graduate Student, Ph. D Program, Graduate School of Humanities and Sciences, Ochanomizu University Abstract Starting in 1937, in the midst of the Sino-Japanese war, there appears a phenomenon by which the consciousness of native Japanese writers (excluding those writers already living in the Taiwanese colony for an extended period) towards the Japanese colonization in Taiwan begins to gradually decrease. An example would be the lectures given by visiting literary writers with the Liberal Arts Homefront Movement, independently arranged during wartime. The topic of the lectures given by the five writers (Kan Kikuchi, Ashihei Hino, Masao Kume, Minoru Nakano and Eiji Yoshikawa) concerning the conditions of production of works related to the Taiwan lecture trip, are relevant to the aforementioned phenomenon from the perspective of the writers’ literary view under the wartime regime and the policy of southward advancement—Taiwan base theory, which prospered during this period. This reveals two findings as follows. Firstly, the activity of the literary authors shifted towards a collaborative effort and numerous battlefield literatures, military service related literature, were created by the social situation under wartime rule of that time and the call for a new system. Specifically the writers became more and more concerned about the battlefield conditions, which symbolized the decline of the Taiwan colony in the eyes of those in the Japanese motherland. Secondly, the representation of the decline of the Taiwan colony and the progressively large southward advancement base theory is also relevant to the phenomenon. The idea of the southward advancement policy, Taiwan base theory, narrowed the scope of concern to Taiwan and the breadth of creativity amongst the literati. Therefore Taiwan only touched lightly upon their non-native related work as the military base/way point for the southward advancement, and it could not be easily adapted to the subject matter the work described.
Title The Status Identification of Sakaguchi Reiko’s Fiction Characters: A Case Study of “Chen Yi Chia” and “Shih Chi Tsau” Author Lin, Hui-Chiun Lecturer of General Education Center, Chang Gung Institute of Technology／Graduate Student, Ph.D Program, Department of Chinese, Tamkang University Abstract Sakaguchi Reiko (1914～) was one of the few female writers in Taiwan during Japanese occupation period. Nakazima Toshio believed that she was the prodigy among the Japanese writers livened up in the colony during Japanese occupation period. She could go beyond the view of dominator and treat the Taiwanese and aborigines in equal. Her creation attitude was totally objective and simple; thus, she was popular with Taiwanese and Japanese readers. However, as a female from the colonist country, did Sakaguchi Reiko actually reach the stage of objective creation and did she treat the colonists equally? Through her fictions “Chen Yi Chia” and “Shih Chi Tsau” created during her stay in Taiwan, this article treats the characters’ identification issue as the observation target and explores her writing views from the subjects of “royal citizen establishment”, “mixed marriage” and “mixed blood”. Sakaguchi Reiko’s issue consciousness was relatively clear and she made efforts to approach the positions of the characters appeared in the fictions and explored various twisted phenomenon and internal struggle. However, under the system of wartime, when looking for real “Japanese” outlets from different characters in the fictions, regardless of spirit pedigree method or blood relationship mix method, it seems that the dominator’s vision under colonization policy still cannot be threw off. While touching the core of the problems, the writer only placed her wish on “Japanese tolerant hakko ichiu spirit” which was abstract and difficult to be carried out. The spirit even neglected the difference of national cultures so that the colonists could not break through the obstacle of identification after all. As the female writer in the colony, although she could grasp the detail descriptions of the characters' internal aspects or criticize the colonization policies with tactful attitude, there was still the individual or the environmental restriction for reaching the stage of creation in extremely objective and simple attitude in terms of the works published during the wartime.
Title South and Wilderness: A Case Study of Nakamura Jihei's “Collection of Taiwan Stories” Author Chiu, Ya-Fang Graduate Student, Ph. D Program, Department of Chinese Literature, National Chengchi University Abstract In the afterword of his “Collection of Taiwan Stories”, Nakamura Jihei (1908-1963) wrote down a statement as follows: “My nostalgia, aspiration, and love for Taiwan, are the unalterable career of my life.” The“south”as expressed in his short stories written during the late 1930's and early 1940's is undoubtedly a metaphor of Taiwan which, for him, betrayed a message as high implication of “wilderness” and “barrenness” .Since the “Wu-She Incident” in 1930, a historical event during which the aboriginal Tayal tribe had suffered from an unprecedented genocide under Japanese merciless military attack, Nakamura had begun to try to interpret colonial history with his fiction writings which implicitly supported the “Southward Advance Policy” bolstered by Japanese imperialism.“South”as a concept in his literary writings during this period was actually a representation of “the political unconscious” In his Japan-centrist geopolitical perspectives, it is discernible that the “south” as wilderness was no more a place for mere aspiration, but a place for further cultivation. This subtle move as reflected in his fictions was accompanied by the progress of the Advance Policy in the 1940's. “South” and “wilderness” thus become a pair of mutually referential metaphors which can be seen as a paradigm of imperial texts produced when war was reaching its apex.
Title The Study of Taiwanese Ei-Ga, the Fine Art Performance, and Dressing Exhibitions during the Japanese Colonial Era Author Tsai, Hsin-Hsin Professor, Department of Chinese Literature, National Chengchi University Abstract When first appeared in Qing Dynasty's historical documents then developing and evolving through Japanese colonial age and post WWII. Taiwanese fine art performance, also as known as “Ei-Ga”（藝閣）, is strongly influenced and mixed with the evolution of social, economical and cultural changes, thus it fulfills the characters of anthropology, sociology, folklore, science of culture and craft to be researched. The study of this article based on the documents of ancient times, newspapers and periodicals during Taiwan's colonial age. The first procedure of this research is trying to figure out the rooting and deriving the name and interior of Taiwanese fine art performance. It was basically inherited of the “Stage Performance”, or “Tai-Ga”（臺閣）from southern Fujian Province, so as to realize that their styles of performing environments and dressings are quite similar. The reason why Taiwanese changed this performing art's name from its original one “Tai-Ga” into “Ei-Ga” was the appearing of “Art conceptions” were to constructed on scholars’core ideas “poetry” and were built up through the complex of picture-drawing and artificial sculpture. There is no solid evidence to identify that geisha, the performers' name, were not existing during the Emperor Kang Xi（康熙，1654～1722 A.D.）era; but in the Emperor Xianyang（咸豐，1850～1861 A.D.） era, prostitutes played the roles as geisha was a common situation. The perspective of Taiwanese fine art performance added many new elements as Taiwan under colonization by Japanese, it inherited traditional celebrations, festivals and worship ceremonies from Qing Dynasty, also it mixed with Japanese worships, authorization memorials, and even economic exhibition activities all together, thus to become a newly developed performing site and era, and also it vaporized different subjects through variable dressings, appearances, and functions; subjects cover from poetry and customs to novels and plays; it, too, covers from Taiwanese historical events to Japanese customs; players were composed of children, actors and even prostitutes. “Ei-Ga” represents and reflects traditions, customs, thoughts and emotions in one hand, and it settle a function to recognize history and to regulate and educate people that couldn't be done at schools; moreover, it even has a purpose of propaganda and match-flaunting. Lastly, the mobilization and organization of “Ei-Ga” was constructed on socialized interpersonal networks of family bloods, similar communities and colleagues relationshiops.