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Children, Family, Post-Regional : A Study of Yuan Zhe-Sheng’s and Tong Wei-ge’s Novels
Children,Family,Hsiang-tu literature,Post-regional fiction,Yuan Zhe Sheng,Tong Wei Ge,
|Publication Year :||2017|
At the beginning of the 21st century, Fan Ming-Ju proposed the concept of 'light regional fiction” on the phenomenon of Taiwanese literature to include the novels appeared in Taiwanese literature since the twenty-first century. This new concept led by Yuan Zhe-sheng to create a new kind of the Hsiang-tu fiction different from the 70's realism. In 2009, the concept of 'light regional fiction' has been given a new name 'post-regional literature'. This upsurge of localization had also been noticed by other scholars, and they began labeling “light”, “post” and “new” in front of 'Hsiang-tu literature”. However, these divergence of labels not only caused by stereotypes of Hsiang-tu literature, but also unveil the connection between labels and its meanings are not defined clearly yet. Therefore, I conceive that post-regional literature need to be observed through the literary history, to clarify the meaning of the “post” in post-regional literature is writers to extend and challenge the 'Hsiang-tu' established imagination. In this study, I discuss two writers (Yuan Zhe Sheng, Tong Wei Ge), who commonly apply the angle of children narrator, juvenile narrator, and children's point of view in their fiction. The purpose of this study was trying to draw the outline of representative works, which included 'Hsiang-tu' and children, how it inherit and transform since the Japanese colonial period in Taiwanese literature. Moreover, to discuss the space and time in two writer’s novels from the perspective of the aesthetics ,as well as the discussion of the novel , through the 'child' as an individual how to respond to 'Hsiang-tu', family and interpersonal relationships, showing the psychological landscape. This study will point out that the meaning of 'post' is that the individual of contemporary society strikes from national consciousness and “individual—family—‘Hsiang-tu’” to re-examine 'individuality' and even further attention to the existence of women's life, and the validity of representing others without permission.
|Appears in Collections:||臺灣文學研究所|
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