Title From Local History to East Asian History and World History: The Cross-Cultural and Cross-Racial Perspectives in Badai's History Fiction Author Lin, Fang-Mei Professor, Department of Taiwan Culture, Languages and Literature, National Taiwan Normal University Abstract Badai is one of the most important indigenous writers in Taiwan. In recent years he has devoted himself to writing historical fiction from the perspective of Indigenous peoples in Taiwan. This paper takes three novels written by Badai as the objects of studies in order to explore how indigenous history in Taiwan can be related to East Asian history and world history. These three novels are: The Last Queen, Reef, and Waves. The author intends to point out the differences between Indigenous peoples and Han people in terms of historical memories and interpretations of events in 1895-1896. The author first studies the role of historical fiction in Taiwanese literature. Second, the author analyzes Badai’s narrative skills, with regard to his special ability to create multiple dialogues among people with different gender, ethnic and racial backgrounds. Finally, this paper explores the relationships among local history, East Asian history and world history. The time span in these three novels is roughly more than two decades, but the places and nations mentioned in the novels are diverse and cover a wide region. In addition to well-known Taiwan, Qing dynasty, and Japan, there are Ryukyu Islands, American diplomat Charles de Gendre who served as the advisor of Japanese government, and 17th century Dutch explorers as background. Badai uses different perspectives and switches these diverse perspectives in the unfolding of plots, and this kind of writing strategy enables different ethnic and racial groups to express themselves. Indigenous peoples and other subaltern groups who have been marginalized in mainstream history are empowered to speak for themselves. Hereby we can re-evaluate big historical events in terms of common people and their daily life instead of focusing on the nation as the main actor of history.
Title "Frames of War" of "Informants": Informants' Cognition of the Frames in Shih Ming-Cheng, Lee Chiao, Tzeng Ching-Wen and Yeh Shih-Tao's Works Author Li, Shu-Chun Associate Professor, Graduate Institute of Gender Studies, Kaohsiung Medical University Abstract This article use “Frames of War” to discuss works by Shih Ming-Cheng, Lee Chiao, Tzeng Ching-Wen and Yeh Shih-Tao. “Frames of War” will distinguish people that are worthy and not worthy of mourning. However, “Frames of War” are not stable. Sometimes, the informants under “Frames of War” become self-distortion and self-denial, which confuse the boundary of the frame. The frame of distinguishing the enemy group/ my group is unstable within the regime. The classification of justice/ injustice in the “Frames of War” that the ruler attempted to establish did not exist. Finally, this article wants to propose that the system not simply provides monetary benefit, but also moral legitimacy. The bonus is not only material, but also the acquisition of symbolic status (such as the position of the principal), but also the praise of patriotism (the party of moral justice).
Title An Androgynous Flower Blooming in Foreign Lands: A Study on the Heterotopia Ideology in the English Translation of Notes of a Desolate Man Author Lee, Ming-Che Ph.D. Student, Graduate Institute of Translation and Interpretation, National Taiwan Normal University Abstract This essay appropriates the “heterotopia” concept elaborated by Michel Foucault to re-contextualize Chu T'ien-wen's post-modernism queer-fiction classic Notes of a Desolate Man, while analyzing the translators' strategies deployed in its English version. The first section provides an overview of available literature about the novel and briefly introduces what has motivated this study. The second section investigates the source text's gender politics with roots in “women's writing” (écriture feminine). Borrowing Foucault's multi-translated renditions of “heterotopia,” this essay aims to de-construct the first-person gay narrator's “homosexualized utopia” and his self-indulgent imaginations of the alienated sphere he dwells in. Based on the“translator’' manipulation” perspective and David Damrosch's World Literature paradigm, the third section examines the translators' strategies and identifies the limitations of previous scholarship on the novel’s English translation, elucidating how the English version has dealt with the Chinese original's heterotopia ideology while enhancing its global visibility in the World Literature terrain. I argue in the concluding remarks that the English version, rendered in sync with the “domestication approach,” employs standardized English to elevate the book's intelligibility and accessibility for the Anglophone audience, whereas the queered heterotopia allegory in the Chinese original is inescapably subject to a certain level of semantic inadequacy.
Title The Idea of Sacredness in Yang Mu's Hua-lien Poems Author Li, Wen-Chi PhD candidate, University of Zurich Abstract This thesis examines how Yang Mu enriches the story of his hometown with mythic content and retells Indigenous history in an animistic way. He sees Hua-lien as a source of everything, and as a place where the god of Mount Papaya, the goddess of Li-wu Stream, and the god of the Pacific Ocean appear. Moreover, a sense of topophilia leads Yang to include the Indigenous story of the Kaliawan Incident (加禮宛戰役). He imagines himself as a young Indigenous fighter who, after the massacre, dies and still haunts the battlefield. What he sees is not merely an objective outer world, but also a world with spiritual plants, animals, and rocks. If China tends to create a discourse that sees itself as central and differentiates its surrounding regions by decreasing values, Yang Mu's local and supernatural poems demonstrate a focal transition to Taiwan and a refusal to accept Chinese totality.