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Echoes in the Bracket: On the Significance of the Monologue in 1990s’ Taiwan Fictions
monologue,reflexivity,Chu Tien-Wen,Chiu Miao-chin,Lai Hsiang-Yin,
|Publication Year :||2019|
In the 1990s Taiwan, a group of writers who focused on expressing their inner thoughts and wrote in the form of monologue by using the first person narrative “I” emerged. The self analyzes reflected in their works have a unique meaning in the history of Taiwan literature. Nevertheless, monologues did not come into existence till the 1990s but existed prior to the Second World War. The monologues in each era reflected each era’s social status. However, the “collective confessions” made by the writers in the 1990s had their own specific points of view and process of reflexivity.
This essay starts by combing through the periods including Taiwan’s Japanese ruling period, China during the May Fourth Movement, Modernism in the 1960s to 1970s Taiwan, and will emphasize specially the 1990s, when the martial law had been lifted and the cities were going through modernization, during which the “they” regressed and the “I”, when facing the feeling of emptiness, began to reflect upon their own and talking to themselves in monologues. The essay consists of three case studies of the writers Chu Tien-Wen, Chiu Miao-chin and Lai Hsiang-Yin, who wrote in monologue styles in the 1990s. Three frameworks are applied: 1. “The Dialogicity in Monologues”, 2. “Monologue as a narrative form”, and 3. “The function of monologue: how it helps the narrator discover ‘self’ and how ‘reflexivity’ is generated through textual crevices”, and further addresses and discusses the different styles, the point of view, and the reflexivity demonstrated in these three writers’ works.
|Appears in Collections:||臺灣文學研究所|
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