文學史與賴和：以“台灣新/現代文學史之父”的論述為例

Like all national literatures in the world, Taiwanese (also known as Tâi-gi) literature was naturally initiated using Tâi-gi native speakers'mother tongue, and developed from oral to written form. Tâi-gi literature started with folk literature (oral literature), and, after a period of creation and learning of writing system, achieved the sequential form of written literature. Accordingly, a research on the development of Tâi-gi literature should begin with its oral form probing and estimating the works, then extend to the exploration of Tâi-gi literature written in Chinese (Han) characters and Romanized spelling system (Pėh-ōe-ji), analyzing their respective developments. It’s relatively appropriate to pay attention to the period when Taiwan was under Japanese colonial rule. Taiwanese literature transited then from classical litery Chinese form to the modern written vernacular form. It was a spectacular era when polyphonic linguistic landscapes arose and multilingual writing blossomed. After the World War II, Tâi-gi literature, oppressed by KMT who took measures to promote Chinese Mandarin as National Language, could merely exist in the publication and religious practices in the Presbyterian Church in Taiwan (PCT) or believers’ personal use, as well as in the texts for performing arts, such as Tâi-gi pop songs, folk theaters and operas, modern theaters, narrative ballads and ballad text books, etc. Tâi-gi literature in the other spheres almost vanished completely. Not until the 1980s' and along with the rise of the Language Revitalization Movements did Tâi-gi literature restore its vitality and regain the way to development. In the development of Tâi-gi literature along with the awakening of the cultural awareness of mother tongue, many problems were encountered and had to be solved, such as the argument about writing systems, difficulties in informatization of Tâi-gi literature data and writing systems, establishment of the subjectivity of Taiwanese literature, and academic institutionalization of its subject areas, etc.

Taking “Seven-Surname Property-Owning Ancestral Worship Association of Tik-tsam-sia”(hereafter as SPAWA) as the subject of research, the purpose of this project is to explore the historical development process of this organization as well as the experience of ethnic identity among members of this organization. Based upon above examination, this project also aims to sort out the typology of ethnic identity among Plains Aborigines of Tik-tsam-sia, and to describe the dynamic mechanism that shapes these specific types of ethnic identity. The Austronesian people was originally the only master that dwelled in the island of Taiwan. Starting from the 17th century, due to the ethnic contact and interaction with Hoklo and Hakka, these people were gradually assimilated and lost their identity as the master eventually. Not until the new era of “Post-Martial-Law” was coming, did there occur an opportunity for the Taiwanese Aborigines, including members of Tik-tsam-sia, to search for their identity. What on earth happened to the Plains Aborigines of Tik-tsam-sia in the last few centuries? How the future development goes? These are the major problematics probed in this study. The major research questions are stated as follows: 1). What is the historical evolution process of Tik-tsam-sia? How the members of the SPAWA develop a change on identity? 2). During different historical stages, what are the role and function of the SPAWA in keeping solidarity among her members? 3). What is the life history narrative in connection with “ethnic experience” presented by the descendents of SPAWA by way of in-depth interview? 4). Based upon above narrative, what is the “status/type” of ethnic identity of these interviewees? 5). In terms of the generation mechanism, in which way could we explain the aforementioned “status/type” of ethnic identity, especially the Plain Aborigines identity? I would answer the first two questions in Chapter Two and responded the third question in Chapter Three. In terms of the forth as well as fifth questions, I would discuss in Chapter Four. As for the research design is concerned, three methods --- document study, in-depth interview, and participant observation --- are adopted in this study. First of all, I would use document study to comprehend the history of Tik-tsam-sia. Then, in-depth interview is adopted to explore the ethnicity-relevant narratives stated by the member of SPAWA. Finally, participant observation is applied while taking part of the worship activity held by Tik-tsam-sia for getting a grip on her cultural patterns and meaning. The findings of this research are stated in the following way: 1). To some extent, the history of Tik-tsam-sia could be understood as an epitome of destiny of Taiwanese Aborigines. Following professor Shih-chung Hsieh’s framework, the history of ethnic contacts of Taiwanese Aborigines could be divided into four stages --- the stage of being the only master, the stage of being one of the masters, the stage of being conquered, and the stage of ready-to-disappear. 2). In terms of the function and role of SPAWA (and her forerunner), during the Qing era, it was basically a place for rent collection and ancestral worship. After entering the Japanese era, SPAWA was formally established and played a significant role in keeping solidarity among her members. 3). Almost all of the interviewees know their “aboriginal” roots and express their identity as both Plain Aborigines and Hakka at the same time. However, in public situations, there are still quite a number of them, declare their Hakka identity only, due to the stigmatized nature of their aboriginal identity. 4). The interviewees from different surnames demonstrate different degree of attachment toward their “aboriginal” identity. While some give equal weight to both Hakka and Plain Aboriginal identity, some others give priority to their Hakka identity than the Plain Aborigines identity, and the others put emphasis on their Plain Aboriginal identity than the Hakka identity. There are a few who even only recognize their Hakka identity. Through the application of the “Continuum of Biracial Identity,” four types of ethnic identity are found in this study: (1). Plain Aborigines with Hakka origin; (2). Plain Aborigines/Hakka; (3). Hakka with Plain Aborigines; and (4). Hakka. 5). In the light of the “Political Process Theory” adopted from social movement literature, four factors are identified to explain the emergence of Plain Aboriginal identity among members of SPAWA --- broad socio-economic processes, expanding political opportunities, indigenous organizational strength, and cognitive liberation. Keywords: Tik-tsam-sia, Plain Aborigines, Ethnic identity, Seven-Surname Property-Owning Ancestral Worship Association of Tik-tsam-sia (SPAWA), Political process theory

從2004年范銘如於文學現象中提出了「輕」鄉土的概念，發現自2000年以來文壇出現了新的小說類型，這股新勢力由五年級袁哲生帶頭，接著六年級吳明益、甘耀明、童偉格、伊格言、張耀升、許榮哲為主力，共同開創出一種有別於70年代寫實主義的鄉土小說風格，這股重回鄉土的風潮在一連串學者的觀察下，提出了「新鄉土」的概念，打破過往鄉土文學的寫作技巧以及關懷面向，展開不同的鄉土表現。但筆者觀察在這些同為「新鄉土」論述下的作家群，面對鄉土有著差異性的表達態度，對於傳統鄉土文學的精神在部分的新世代作家上顯現出繼承的痕跡，但卻也有部分作家僅僅是操弄了「鄉土」的符號，而近幾年同為觀察「新鄉土」現象的學者或學位論文幾乎對於新鄉土的作品給與一致樂觀的評價。筆者希望能重新爬梳「鄉土」從日治時期以來在台灣文學的脈絡上如何發展，進而重看「新鄉土」論述的來龍去脈，以及之中的鄉土書寫作品，期許能在論文中理出一條鄉土文學的繼承與變異，照見「鄉土」在台灣文學中被想像的變化樣態，並帶入全球與在地的關照視野，對於90年代之後的「新鄉土」現象與鄉土書寫重新給與評價。

This research focus on a Taiwanese writer Chen,Huo-Quan, who is regarded as a ”Ko-Min Literature” writer by Taiwanese academic circle. When war went over, KMT government with Chinese nationalism arrived in Taiwan, most of the Taiwanese writers, include “Ko-Min Literature” writers , who have went through period of Japanese colony, as a result of many reasons made them couldn’t proceed to write. However, even if Chen,Huo-Quan is a “Ko-Min Literature” writer, he didn’t disappear from the literary circles, but also keep writing until 90’s. It’s a special case of Taiwanese writers. So this thesis try to explore the life of Chen,Huo-Quan, and furthermore put him into differend kind of the culture fields, to understand that how a ”Ko-Min Literature” writer achieved his dream of literature under different eras. This thesis also expect to launch more viewpoints of Chen,Huo-Quan and other Taiwanese writers.

As one of the most important writer in Taiwanese literature in the forties, Wu Zhuo-Liu and Zhong Li-He have created two enormous image in Taiwanese literary field, ”the orphan” and ”the native” by their master work, ”the Asian orphan” and ”the native” individually. Afterwards, the consciousness of being ”the orphan” and ”the native” not only both became the popular creative archetype and the fervently discussible motif, but also formed a very particular phenomenon in Taiwanese literature history. Coincidently, the occurrence of the two consciousness are both well connected to the two authors' experiences about the mainland China. Hence, in this article I choose ”the orphan” and ”the native as the two best types of consciousness, which stand for the Taiwanese contrary psychology in the meanwhile, and make a distinct contrast between them furthermore by the process of discussion about their journey in the continent, how the two consciousness fermented and formed in the mind, and deeply influenced their creation on writing all their life.

May Fourth, New Taiwanese literature and Korea –Discussion on modern East Asian based on two novels in Taiwan People News

When it comes to the acceptance and development of haiku in Taiwan during the period of Japanese colonial rule, the ”Taiwanese mood” of the literature claim is an important clue to the research ”Taiwanese mood” was one of the concepts in the colony literary theory brought up by Yoshihisa Komatsu. Since the haiku poets who had migrated to Taiwan advocated the possibility of the ”Taiwanese mood ”, the concept became the most import ant goal to compose haiku. Rihei Kobayash, haiku poet, specifically revealed the methodology of ”Taiwanese mood” in his poems published in ”Mizuhikigusa” which was a serial about Taiwan season words in ”Taiwan-Nichinichi-Shimpo” Due to the effort of the haiku poets, such as Rihei, the new development of the Taiwan haiku launched.This research examines the implication of the ”Taiwanese mood” and surveys the opinions of the haiku poets. Besides the review of the transformation beneath the different culture, the change of the content s in Taiwan haiku during the Meiji era is the focus of the research.

The political isolation between Taiwan and the Mainland China during the Japanese-ruled period did not in any way halt cultural exchange between the two straits. Large theatrical troupes in China have staged numerous performance in Taiwan. This has greatly enriched and improved the aesthetic perceptions of Taiwanese on dramas, play programs of local performance, acting performance, and stage arts. In fact, the qualities in traditional Taiwanese opera is, to a certain level, a reflection of the influence brought about by the theaters of China. This paper seeks to conduct a study on Fookien, which is greatly similar to the Taiwan in terms of culture, arts, customs and traditions. Research scope is based on records found in the ”New Taiwan Daily News” which contained a majority of the opera activities at that time. Relevant records and critic's reviews on Fookienese opera Troupe's performance in Taiwan between 1899 and 1936 and relevant documents from the Japanese-ruled period were used. This paper began with an overview of the development of Taiwanese opera during the Japanese-ruled period and a clarification of the relationship between Taiwanese opera during the Ching Dynasty and Fookienese opera. It then conducted a discussion on the background and activities relating to the performance of the Fookienese opera troupe in Taiwan to gain an understanding on the historical features of Fookienese opera troupe's performance in Taiwan. Finally, an analysis on the impact and changes in Taiwanese opera was conducted to show the interactive process between these periods. It is the objective of this study to provide a more objective and comprehensive look at the historical development of Taiwanese opera by studying the cultural exchange between Taiwan and Fookien opera during the Japanese-ruled period.

Democracy and Nation Formation: National Identity Change and Dual Identity in Taiwan, 1991-2011 Shiau-Chi Shen As has been the case in many newly democratized countries, the transition to democracy in Taiwan entailed nationalist competition and the aggravation of ethnic conflict. Much research has shown that national identities among the general populace have experienced radical change. The Chinese national identity no longer occupies a dominant position, while the Taiwanese national identity is rapidly rising. The popular view is that democratization provides a political space for this nascent Taiwanese identity to challenge, and eventually replace, orthodox Chinese identity. This view, however, overlooks the very important phenomenon that, especially in the stage following the democratic transition, most people held dual national identity, i.e. both Taiwanese and Chinese national identities. This phenomenon presents a puzzle to the study of national identity in Taiwan, and in general as well. Why, in the fierce confrontation between two national identities in national politics, would most people prefer to see Taiwanese and Chinese national identities as compatible and show their allegiance to both? This dissertation challenges the assumption in previous research that the nature of national identity is exclusive—that it represents an either-or choice or attitude. This assumption has led to the incorrect view that the decline of Chinese national identity and the rise of Taiwanese national identity are two sides of the same coin. Contrary to this conventional view, this study shows that the trajectory of the two identities are actually different processes which have occurred during different historical stages and in different international environments, and that they are the results of different political forces. Taiwanese national identity started to rise in the early 1990’s. Chinese national identity, however, began to decline only after 2000. The past two decades thus witnessed a great proportion of people with dual identity. This study focuses on the factors of state and politics, rather than history and ethnicity, to explain the rise of Taiwanese national identity, and also the phenomenon of dual identity. It is contended that the ethnic base of Taiwanese national identity, with its particular history and language, which has been much emphasized by many political and cultural elites, as well as scholars, constitutes only one route of nation formation. The other more important route is through political participation in the democratic regime. While democratic institutions and practices redefine the de jure territory of the state (the Republic of China), democratic citizenship provides a new base for collective self-understanding. Through participation in democratic political processes, identification with the Taiwan-wide political community is cultivated among the populace. The Taiwanese national identity engendered through this route does not challenge the ethnicity upon which the Chinese national identity is based. It thus is able to co-exist with Chinese national identity. The decline of Chinese national identity is hence not the result of the rise of Taiwanese identity, but of the rise of China. It is argued that the dominance of the People’s Republic of China (PRC) in the international community along with its staunch One China Principle has removed the important component of the Republic of China (ROC) from the Chinese national identity in Taiwan. Chinese unification now means the elimination of the ROC and to be ruled by the PRC. People who have identified with the ROC no longer opt for a unified great China and hence forgo their Chinese national identity. Based on the study of the phenomenon of dual identity in Taiwan, this dissertation proposes two important theoretical findings. First, contrary to the popular view among the students of nationalism and nationalist politics, it argues that democratization mitigates rather than exacerbates identity politics. Secondly, dual identity is difficult to sustain if the larger nation pursues a state that denies political autonomy to the small nation.

This article describes the life of Ye Jung-chong as an anti-Japanese intellectual in the post-colonial era. Before World War II, Ye Jung-chong was a right-wing intellectual of the anti-Japanese movement. Such had been his image in modern Taiwan. After the war, he published a series of works in the 1960s when Taiwan was still under martial law, thereby passing down his experiences and memories of the anti-Japanese movement in the 1920s to the younger generation. This article attempts to explore the historical background and his life experiences that changed Ye Jung-chong from an anti-Japanese intellectual into a writer of historical experiences. Although not belonging to the postwar generation, Ye Jung-chong attracted much the attention of the postwar generation both domestic and overseas because of his book, ＂History of the Taiwanese National Movement＂, and because he was part of the ＂back-to-reality＂ trend of thought of the 1970s. Although he was invited to write History of the Taiwanese National Movement as a refutation of Yang Chao-chia's memoirs, it did reveal his strong ＂determination to write history.＂ In the aftermath of World War II, his role as a ＂writer＂ overlapped with his engagement to ＂write history.＂ Ye Jung-chong's zeal to write history stemmed from his demand for equal recognition of the Taiwanese history and culture. His spirit of recording history had set a precedent for the postwar generation, including Kang Ning-hsiang, Huang Huang-hsiung and others. Moreover, every time a predecessor of the anti-Japanese movement died, Ye Jung-chong published essays of commemoration and passed down memories of the forerunners. The 'tangwai' magazines inherited his literary style, which was also a part of his legacy prior to the study of Taiwanese history in the later half of the 1980s. Analyzing the writing activities of Ye Jung-chong in his late years can shed light on the post-colonial cultural movement and the process through which historical experiences of Taiwanese under Japanese colonial rule were discoursed, which makes it a part of social memory under the KMT's dominant, one-party regime in the postwar era.

The research topic of this paper centers on the literature written by Taiwan’s Aboriginal women in the 90’s. Two aboriginal women authors Rimui•Aki and Liglave•A-wu were chosen as observing subjects. Focusing on their feminine literature publications after the 90’s this paper aims to compare and contrast their different writing styles on similar topics. The researcher observed different aspects of their writings such as: [childhood background and the creative process], [women’s image and feminism] and [writing style] to examine the similarities and differences on Taiwanese aboriginal women author’s writing on feminine literature hoping that from a women’s perspective the rich and diverse connotations present in aboriginal women’s writing can be shown. This paper is divided into five chapters, chapter one is the introduction then the two authors are discussed independently in the second and third chapters. The fourth chapter compares the two authors. And chapter five concludes. Rimui•Aki and Liglave•A-wu’s writing are built upon their aboriginal ethnic background and their personal experiences living in a tribal society. From their works we not only read about the authors’ life in the mountains but also witness the refined mind of a women. These are distinctive features of aboriginal women’s writing. In Rimui•Aki’s writings we realize that aboriginal women’s literature is not limited to aboriginal culture issues only. From her writings we see very strong self-expression of aboriginal women. Liglave•A-wu’s writings show evidence of discussions about feminine issues. Both women writers have distinctive features in their writings but they both use women’s’ role, feminine issues and mother’s perspective as a theme in their writings. Not only does the two authors find self-assurance through their native cultural roots, but they also investigate their roles as a woman and other women’s role living in an aboriginal tribe. Through these new perspectives the authors bring out a new flavor in aboriginal literature.

The ”Fishery Technology Talent” is the key motivation of Taiwan's fishery development. During the early post-war era, Taiwan was in the stage of regime change and the repatriation of the Japanese fishery talents has resulted in a stagnant period of fishery development. At this time, the local Taiwanese fishery talents cultivated by Japanese have become the main force for guiding the restructuring development of the fishery throughout the island. Nevertheless, the former ”Taiwan Fishery History” theory structure predominated by government either tended to exaggerate KMT government's strong leadership or intentionally ignored the fishery infrastructure under Japanese rule, talent cultivation and the construction of system management. Based on the viewpoints of education, industry takeover and technological talents, this study attempted to discuss how prewar China and Taiwan under Japanese rule cultivated fishery talents through fisheries education and further influenced the overall development of Taiwan's fishery industry according to the overview of the fisheries education in prewar Taiwan and China, fishery industry takeover during the early post-war period, employment and designation of the local fishery technology talents, and the analysis on the number of fishing crafts during the early postwar period. However, how Taiwanese and Japanese skill, research and management talents and fishing crafts cooperated with China takeover and technology teams to form a tricky interaction and cooperative process among Taiwan, Japan and China in Taiwan? How these three powers actually extensively affect the fishery development throughout the island during the early post-war period? Moreover, what are the impacts on Taiwan's fishery development in the early post-war era? In the meantime, this study also reviewed the ”Taiwan Fishery History”, which has been predominated by government for a long time, and re-defined the role of local Taiwanese fishery technology talents through the restructuring process of Taiwan's fishery development in the early post-war era.

As a response to the dramatically ageing population in Taiwan, it is advised that Taiwanese linguists should consider conducting language studies in relation to ageing and older age. However, in existing literature, such studies are rather rare. Hence, the aim of my research is to make a contribution to fill in this research gap. Traditional sociolinguistic studies tend to treat older age as an explanatory factor to predict language variations that reflect a decremental tendency in communication competence as a consequence of ageing. My research, however, takes on a different (but constructionist) research orientation to investigate discourses of ageing and older age. Following the sociolinguistic trajectory established more than 20 years ago by British sociolinguists, Nik Coupland and Justine Coupland, blending social psychological and interpersonal communication analytic perspectives, this current study adopts multiple qualitative as well as quantitative data-collection and analytic methods (e.g. semi-structured interviews, questionnaire survey, natural conversations, statistic analysis, discourse analysis ) to approach questions regarding language and communication with the elderly and age disclosure behaviors in a specific context, that is, senior education or engaging in learning activities at later life. In conclusion, the research purposes can be unfolded into the three different layers: (1) to monitor the appropriateness in the language and communication with elderly learners in senior educational contexts (2) to associate language and communication studies with the wider social and cultural contexts from which the examined narratives and natural conversations are produced with a special interest on whether they reproduce, challenge or reinforce ageism or age stereotypes (3) ultimately to enhance the awareness of the role our daily use of language with the elderly plays so as to create an elder-friendly society as well as to increase the communication gratification elderly learners receive in the learning processes.

This article examines how and why the ruling party used various rhetorical strategies-cultural interpretation, expression and representation-to hold sway over the first peoples of Taiwan in the early postwar period. This essay begins with the KMT's reclamation effort in 1945, when the Japanese relinquished control of Taiwan. At first, KMT officials knew very little about the Formosan natives. Influenced by the nationalist rhetoric prevalent in China at the time, the KMT viewed the aborigines as a minority. The aborigines were effectively subsumed under the Chinese nationality. The KMT went one step further in 1947 by renouncing the aboriginal leaders' initiative to be called the ＂Taiwan nation＂, and in keeping with nationalist rhetoric, decided to call them ＂mountain compatriots＂ instead. After the KMT government relocated to Taiwan in 1949, the island moved to the frontline of the cold war, and the aborigines quickly became caught up in the ensuing battle of ideologies: anti-communism, nationalism and modernism. Beginning in 1950 the KMT government began implementing a suite of policies and propaganda campaigns geared toward the aborigines. Based on information in related media reports and propaganda materials, ideas central to the discourse included the single origin of the Chinese people, the common ancestry of the people of Taiwan, applauding progress and the accomplishments of the administration, and the importance of being a law-abiding citizen and pledging loyalty to the Republic of China. The following historical survey delineates the means by which the KMT asserted its dominance over the aborigines through the combined use of political power plays and the ＂mountain compatriot＂ discourse, each tactic enhancing the other.

本文寫作期間，正值台灣及中國兩方面的學界，針對「台灣文學史」的論述方式，有著諸多意識型態上的矛盾與磨擦。為了解此間問題根源，有必要從歷史及現實等方面，進行兩方的論述考察與批判。本文首先追究「台灣文學」此一觀念的發生，再說明台灣與中國在「台灣文學史」的寫作實踐上的歷史情境，及釐清隱藏於情境背後的意識型態限制。最後再針對重要的文學史作家進行批判、檢驗並從中思考他們所未辨析的文學史難題。「台灣文學」一名之提出，源自於日本時期的文學和文化思考。將思考落實成文字，則起自1943年的黃得時。歷經戰爭及戒嚴的偏廢和禁錮，「台灣文學」暫被歸類於中國文學之一個支流，並不受重視。及至1970年代，台灣意識甦醒，再有陳少廷等人開始還原「台灣文學史」在日本時期的歷史面貌，並經1980年代的葉石濤等人之努力，終於建立了一脈無需依附中國文學體系與價值的「台灣文學史」。中國的台灣文學史書寫，則起於1980年代的的統戰政策，造成數十本「台灣文學史」皆具有論述上的盲點。特別值得注意的是2000年後由陳映真及呂正惠等台籍作家和學者，他們儼然成為現下中國在建立台灣文學史論述時的新血。兩人皆視野廣泛，論述有據，卻仍甘於將台灣文學史的書寫，視為中國對台政治行動的一部份。不過他們對於文學史書寫的思考，雖有意識型態上的重大疑慮，但仍有值得延申再議的空間。