兩種台灣文學史－台灣V.S.中國

Literary history is an important aspect of literary studies. It explores the multiple dimensions of literature, including writers, works, schools, movements, debates. This paper uses History of Literature in the Republic of China as the object of analysis. This book was published in 1975, sponsored by KMT (the Nationalist Party) and edited by Yin, Xue-man. In terms of the methodology of literary history, I intend to explore the significance of this book. There are four issues examined in this paper. First, is history inevitable or coincidental? To answer this question, comparisons will be made between ”rewriting the history of literature” in 1970s and 1980s in mainland China and ”new history of literature” in Taiwan. Second, this paper will discuss the backgrounds of how this book was published. Third, I will discuss external issues such as how literature was used as an instrument to forge common identity and subjectivity. Fourth, I will analyze internal issues such as the definition of literature and periodization.

The thought Orientalism have influenced to study of Japanese modern literature largely. Specially, under influence of this thought, ”Chinoiserie” became a keyword in the studies of the works from Taisho period to Showa period, and argued the connection of novelists around this word. In those studies, the writers who picked up is TANIZAKI Junichiro, AKUTAGAWA Ryunosuke, KINOSHITA Mokutaro, and SATO Haruo. SATO Haruo is a only one writer who visited Taiwan, wrote some works about Taiwan. These works is tend to be discussed from Taiwan literature context like Taiwan nationalism or ideology in these days, but these studies almost missed his original position in the connection of some ”Chinoiserie” writers, the unique narratives in his works and his point of view as a traveler. This paper pick up his short work Traveler (TABIBITO) that include fictional element and documentary element. A motif of this work is his travel to Taiwan around Sun-Moon lake from 1920 August 19h to 21st. This work is a first person narrative, and filled with the viewpoints of a traveler. In this paper, I focus on the narrative and his viewpoints, analyze this text, and discuss the Japanese writer SATO Haruo how to describe Taiwan and Taiwanese.

借用比較文學的流傳學研究方法，檢閱吳濁流小說《亞細亞的孤兒》在中國大陸的文本旅行，三十年間的出版、評論和文學史敘述表明，政治意識形態在學術探討中的結構性影響在遞減，跨越海峽的文學接受已從誤解走向理解、從一元走向多元。

If the changing process of the Taiwanese literature and its research is one of the most prominent processes, then the works of Lai Ho and its researches will no doubt play a key role in this process. That is to say, the works of Lai Ho and its researches play a rather important role in the turning point of the whole process of the history of Taiwanese literature. Like the messages showed in the statement “Lai Ho: the Father of Taiwanese Modern Literature” which elementarily put forward by Wang Shi-Lang in the middle of 1930s and continued to be used in the Pacific-war period, and which were almost opposing to another statement “Colonial Literature” pronounced by the Japanese literary critics and writers living in Taiwan. When it came to the early period of post-world war II, another efficacy was granted to the works of Lai Ho and its researches, such as the using of Yang Qui who pointed out the achievement of Japanese-ruling Taiwanese literature movement to the Mainlanders of literary circle now living in Taiwan. After some argument and dispute, from the middle of 1960s via Nativist literary debate to the early 1980s around, the statement “Lai Ho: the Father of Taiwanese Modern Literature” was pronounced and recognized again. With the aid of elementary results of literary history and nationalism issue research, we might find that such a statement would surely possess or provide its meaning very close to the nationalist movement. From the other point of view, if we were to say that the ethnical politicizing approximately revealed in the field of anti-KMT movement or supporting inclination of election, then the changing process of this statement will similarly show the same politicizing in the literary discourse. In brief, the main discussion of this paper is to focus on the formation and changing process of the statement ‘Lai Ho: the Father of Taiwanese Modern Literature”, by the way, the relative or opposite voices will surely involved. Nevertheless, the attempt to clear the outline of its formation, conflict and change is our first concern.

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.

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.

The aboriginal writing in the 90s used to be involved in the problems of political power, historical explanation and social existence that were closely related to the modernity and colonialism history established and formed by the modern western civilization. Going through the modernity and colonial consciousness revealed in the writing of both modern aboriginal writers Tien Ya-Ko and Hsia-Man Lan-Po-AN not only helps to clarify the problems induced by the conflicts between post colonialism and ethnicity consciousness in Taiwan literature, but also helps to rethink how the ghost of culture hegemony could be reborn in the ideological state apparatus and finally provides the deconstruction possibilities for various discourse of Taiwan literature.

Many scholars regard the Land reform policies like ”三七五 rent reduction” and ”land-to-tiller” that were implemented by the KMT government who moved to Taiwan after 1949 are successful. It solved the contradictions between the social classes that are caused by unfair allotment of land, and was one of the main reasons for Taiwan’s economic takeoff. The land and farmers are main themes in many country novels. In the novels before the World War II in Taiwan, the landholders and Sharecroppers are main characters. But after 1949, both China and Taiwan launched a large-scale land reform. The purposes were similar, but the means were different. There were also novels in China whose themes were land reform. Compared to Taiwan, limited by historical and political factors, the land reform themes novels were less in quantity and also were not explored in depth. The novel appeared also later. But we can find many clues from different perspectives many clues. The differences of the cross-strait ideologies has resulted the different context. The different positions taken by the authors has resulted a perspective differences that appeared in novels. This created two contexts and two perspectives. This article researches the land reform as themes of the novels in China and Taiwan. In China, such as Zhao Shuli, Ding Ling, Zhou Lipo etc. whose works are born in early period of the land reform. In Taiwan, the novels are dispersive in different periods. This article will discuss the narrative difference of the novels because of the different context and perspective. This difference is also due to the different low structures and the different political climate.

The main concern of this article is to find out the identity of the authors of several novels published in ”taiwan ri ri xin bao”, who adopted different pseudo names at different times. For example, ”Prince of Denmark”, ”leng jing” and ”yu chan” are all works which are adapted fromy ”in bian yan yu”. Judging from the styles of writing, it is argued that their alleged authors guan chao and shao chao Should indeed be the same person -Li Han-ru. It is also observed that he used the name nai nong in his 1910 works (”Cuiwei”, ”devil's wife”, ”xiao zi” and ”shen nu”), which are more mature and creative such that two of them are reprinted in some magazines in Mainland China. Other examples contain the case of Wang Tao, who used names such as yi and shi yi at different times. Indeed, Taiwanese writers in general, at that time, adapted many Chinese classic novels such as ”zui cha zhi guai”, ”yin bian yan yu”, ”hua guo ju tan” and ”Strange Stories from a Chinese Studio”. It is therefore important to identify the authors and origins of these Taiwanese classic literary works, which gave strong thrusts to the development of Taiwanese literature from mere mimicry to genuine creation. In this way, adequate interpretations of these texts can be made possible.

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

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.

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.

The Annotated Catalog of Books in the Imperial Library is an important record of written works in China. Starting from the eighteenth century, as scholars conducted research from the methodology used in the studies of literature, such as editing, supplementing and modifying, many important advancements were achieved. Up until the 1980's the direction of research gradually changed; scholars began to pay attention to the culture and thinking shown in the books. This research is focused on this change. The narrations on the history of literature is the scope of my research. My research will reconstruct the officials work on the history of poetry and the historical writings from the Tang Dynasty collections of summaries, and interpret the implicated meaning of their thinking. Because summary in The Annotated Catalog of Books in the Imperial Library were composed according to existing books, this led to the form of the complete idea seem unordered and hidden. I will reconstruct their narrations on the history of literature, and explore the complete content of their thinking. Thus, I use the The Hidden Relationship as a topic to open discussion.

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.

The contemporary social constraints on the gay community and the gay community’s revolt against the colossal mainstream system are often first manifested in the medium of fiction as locking horns, contending with each other. Homosexual narratives in the literature realm gradually seeped into 1990s’ prose and poetry. Yet, the question remains how homosexual issues have unfolded in script creations. In 1988, Homosexual Love in Chinese, written and directed by Tian QiYuan, initiated the start of Taiwan’s early dramatization of “Homosexual Scripts”. Twenty years on, what is the quantity of “Homosexual Scripts” being accumulated in Taiwan? In comparison to fiction and prose as literature forms, how have homosexual-centered script creations evolved, and what landscapes have they carved out? Social trends are surfacing and re-surfacing one after another. The historical events and their repercussions may present themselves as mirrors for reflection, leaving behind whatever reaction and confrontation, gentleness and malice, seriousness or mockeries that gender dissidents have against contemporary mainstream mechanisms and that have been preserved amidst the lexicon of codings. In contrast to fiction, prose, and poetry, scripts have rarely been read and discussed independently. This dissertation will focus on script creation centered around homosexual issues. ‘Taiwan’ refers to a geographical location where events take place, while ‘Modern Theatre’ refers to the dramatization of contemporary theatre, including theatre productions of all scales, and ‘Homosexual Scripts’, the research direction. This dissertation consists of five major sections: deconstruction of Confucius doctrines and patriarchal thoughts; post-modern contexts; Metonymy for homosexual issues – new interpretations of classical imageries; gender trouble; diaspora of homosexual manifestations. The author attempts to analyze 15 scripts with subject matter ranging from political conflicts and impacts, aesthetics in evolution, new interpretation for classics, multifarious gender presentations, and the exile of homosexuals in a bid to elucidate all unique content and cultural landscapes within the text, bringing to light different gay presences and existences in different eras. Homosexual script creations in the 1980s and 1990s Modern Theatre tended to be more critical. From the 21th century onwards, homosexual script creations gave focus to individual lives and the quest for personal identities, as well as cross dressing, trans-sexual operations, and cross-gender expressions. Along with Taiwanese society’s construction, reversal, coinage, and extension of words like gay and queer, an act of baptism is taking place. Gender is no longer (built on or discussed within) a fixed frame, but in a constant flux. Although the imposing mainstream mechanism is still in place, script creations, in their vast varieties, have offered a brief breathing space and temporary relief. In the meantime, the reflections on these script creations reveal a vast multitude of possibilities in which life expresses and presents itself. We revolve ourselves around life, allowing life to dominate us. And perhaps it is through the attempt at distinguishing between illusions and realities that a flash of creativity can and must be illuminated in a few split seconds. That fleeting clarity is still a ray of sunlight, to which a possibility for survival clings.