《新刻的石像──王文興與同世代現代主義作家及作品研究》專書撰寫;New Status──Wang Wen-Hsing and His Fellows in the Same Generation and Their Modernism Literary Work

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題名:	《新刻的石像──王文興與同世代現代主義作家及作品研究》專書撰寫;New Status──Wang Wen-Hsing and His Fellows in the Same Generation and Their Modernism Literary Work
作者:	洪珊慧
貢獻者:	國立中央大學中國文學系
關鍵詞:	語文
日期:	2012-12-01
上傳時間:	2014-03-17 11:28:54 (UTC+8)
出版者:	行政院國家科學委員會
摘要:	研究期間：10108~10207;After World War II, the major Modernism writers in Taiwan made themselves conspicuous, and their representative work become the important masterpieces and classics in Taiwan Literature. Among them, Wang Wen-hsing is special for his non-stopping literary creation and complete realization of the Modernism Literature. As a result, this dissertation, entitled “Wang Wen-hsing and his fellows in the same generation and their literary work”, focuses on comparative discussion on the works of Wang Wen-hsing and his fellows such as Pai Hsien-yung, Ou-Yang Tzu, Chen Jo-hsi, Kuo Sung-fen, and Wang Chen-ho, and intends to illustrate their significant creation and contribution to the history of the modern Taiwan Literature. In Chapter 2, the father-son relationship, the conflict between family and personal freedom, and the pursuit of reality in Wang Wen-hsing’s Family Catastrophe and Pai Hsien-yung’s Crystal Boys are investigated. Moreover, the relationship between mother and sons/daughters is also included. The Modernism writers probes the pursuit of reality in their literary, intends to present the complexity and multidimension of humanity and to challenge the conventional rules of moralities and ethics. For these three Modernism writers, the value of literary is to present the eternal characteristics of people. They challenge the traditional point of view by digging the overall and real life, get beyond the scopes and imagination of Realism, and open a new window to the literary creation in Taiwan after 1950’s, in which dominated with military literary and anti-communism writing. In Chapter 3, the relationship between “modernism＂ and “Chinese classical literary＂in the literary Modernism is discussed. Not like the opinions of that the Modernism writers in Taiwan learned completely from the literary of the West and left the Chinese classical literary off, the fact is that Wang and Pei not only draw much from the Chinese classical literary for nourishing their creation but also put much about the characteristics of the Chinese classical literary in their works. That is to say, these major Modernism writers in Taiwan, graduated from the Department of Foreign Literature, picked up the essence and learned the techniques of the West literary, meanwhile, they also studied the Chinese classical literary and art much and deeply. The opinions and strategies of Wang and his fellows on the language and written words of literary Modernism are discussed in Chapter 4. As not being satisfied with the vernacular Chinese after the May-fourth Movement, they examined the language and written words in the modern literature, so as to exercise the forge and recreation of literature languages and words, through the ways of uses of poetry words and creation of the classical-Chinese-type sentences in their writing. Both Wang Wen-hsing and Kuo Sung-fen emphasize the poetic type of writing. In reading the classical Modernism masterpieces of the West and their translated Chinese version, the western sentence pattern and the background of conventional Chinese literature inspire their opinions and approaches of creation of written words and language patterns of modern novels. Chapter 5 focuses the special presentation of written words and language patterns in the interested works. The dialects in different provinces of China in Wang Wen-hsing’s and Pei’s works, the multi-language writings in Wang Chen-ho’s writing, both refer to the language background and status in Taiwan society. Moreover, the Taiwanese and Japanese in the purely poetic writing style in Kuo’s works like a colony people soliloquizes under his deep mind. On the other hand, both Wang Wen-hsing’s and Wang Chen-ho embedded symbols, notation, space, and deformed characters in the texts of their works, trying to escape from the conventional expression style of writing so as to create a new and artistic representation. Besides, by this way the tone, tempo, and rhythm in the story they tell have been emphasized and represented. In Chapter 6, the observation and description of cities and local (Taiwan) places in Wang Wen-hsing and Pei’s writings are studied. For Pei, city observation and description, from Taipei People to New Yorker, reflect the typical experience of modern and represent the feelings of “out of place” and “diaspora”. On the other hand, Wang Wen-hsing’s Family Catastrophe could be considered as a “book of memory”, illustrating the life in Taipei in 1950’s concretely and trivially. Wang imitates the real life painstakingly to display the appearance and atmosphere of the society in that decade. Furthermore, in Backed against the Sea, the diaspora from the mainland and the local geography and history of a small town in Taiwan, their interlock and interaction are interesting to be explored. Here the complicated interaction of Modernism with local geography and history has been carefully examined. In conclusion, Wang Wen-hsing and other Modernism writers tried to break the imprisoned literature environment of Taiwan in 1960’s, to find a new approach of literary creation linking to the literary of the West. These writers and their works have become the first classical examples of Taiwan Modernism literature after World War II. They also break down the limits vernacular Chinese in writing, moving the narrative esthetics of Chinese writing to a higher level. The not only become the pioneers of literary Modernism of Taiwan, but also definitely establish an important milestone in the history of Taiwan literature.After World War II, the major Modernism writers in Taiwan made themselves conspicuous, and their representative work become the important masterpieces and classics in Taiwan Literature. Among them, Wang Wen-hsing is special for his non-stopping literary creation and complete realization of the Modernism Literature. As a result, this dissertation, entitled “Wang Wen-hsing and his fellows in the same generation and their literary work”, focuses on comparative discussion on the works of Wang Wen-hsing and his fellows such as Pai Hsien-yung, Ou-Yang Tzu, Chen Jo-hsi, Kuo Sung-fen, and Wang Chen-ho, and intends to illustrate their significant creation and contribution to the history of the modern Taiwan Literature. In Chapter 2, the father-son relationship, the conflict between family and personal freedom, and the pursuit of reality in Wang Wen-hsing’s Family Catastrophe and Pai Hsien-yung’s Crystal Boys are investigated. Moreover, the relationship between mother and sons/daughters is also included. The Modernism writers probes the pursuit of reality in their literary, intends to present the complexity and multidimension of humanity and to challenge the conventional rules of moralities and ethics. For these three Modernism writers, the value of literary is to present the eternal characteristics of people. They challenge the traditional point of view by digging the overall and real life, get beyond the scopes and imagination of Realism, and open a new window to the literary creation in Taiwan after 1950’s, in which dominated with military literary and anti-communism writing. In Chapter 3, the relationship between “modernism＂ and “Chinese classical literary＂in the literary Modernism is discussed. Not like the opinions of that the Modernism writers in Taiwan learned completely from the literary of the West and left the Chinese classical literary off, the fact is that Wang and Pei not only draw much from the Chinese classical literary for nourishing their creation but also put much about the characteristics of the Chinese classical literary in their works. That is to say, these major Modernism writers in Taiwan, graduated from the Department of Foreign Literature, picked up the essence and learned the techniques of the West literary, meanwhile, they also studied the Chinese classical literary and art much and deeply. The opinions and strategies of Wang and his fellows on the language and written words of literary Modernism are discussed in Chapter 4. As not being satisfied with the vernacular Chinese after the May-fourth Movement, they examined the language and written words in the modern literature, so as to exercise the forge and recreation of literature languages and words, through the ways of uses of poetry words and creation of the classical-Chinese-type sentences in their writing. Both Wang Wen-hsing and Kuo Sung-fen emphasize the poetic type of writing. In reading the classical Modernism masterpieces of the West and their translated Chinese version, the western sentence pattern and the background of conventional Chinese literature inspire their opinions and approaches of creation of written words and language patterns of modern novels. Chapter 5 focuses the special presentation of written words and language patterns in the interested works. The dialects in different provinces of China in Wang Wen-hsing’s and Pei’s works, the multi-language writings in Wang Chen-ho’s writing, both refer to the language background and status in Taiwan society. Moreover, the Taiwanese and Japanese in the purely poetic writing style in Kuo’s works like a colony people soliloquizes under his deep mind. On the other hand, both Wang Wen-hsing’s and Wang Chen-ho embedded symbols, notation, space, and deformed characters in the texts of their works, trying to escape from the conventional expression style of writing so as to create a new and artistic representation. Besides, by this way the tone, tempo, and rhythm in the story they tell have been emphasized and represented. In Chapter 6, the observation and description of cities and local (Taiwan) places in Wang Wen-hsing and Pei’s writings are studied. For Pei, city observation and description, from Taipei People to New Yorker, reflect the typical experience of modern and represent the feelings of “out of place” and “diaspora”. On the other hand, Wang Wen-hsing’s Family Catastrophe could be considered as a “book of memory”, illustrating the life in Taipei in 1950’s concretely and trivially. Wang imitates the real life painstakingly to display the appearance and atmosphere of the society in that decade. Furthermore, in Backed against the Sea, the diaspora from the mainland and the local geography and history of a small town in Taiwan, their interlock and interaction are interesting to be explored. Here the complicated interaction of Modernism with local geography and history has been carefully examined. In conclusion, Wang Wen-hsing and other Modernism writers tried to break the imprisoned literature environment of Taiwan in 1960’s, to find a new approach of literary creation linking to the literary of the West. These writers and their works have become the first classical examples of Taiwan Modernism literature after World War II. They also break down the limits vernacular Chinese in writing, moving the narrative esthetics of Chinese writing to a higher level. The not only become the pioneers of literary Modernism of Taiwan, but also definitely establish an important milestone in the history of Taiwan literature.
關聯:	財團法人國家實驗研究院科技政策研究與資訊中心
顯示於類別:	[中國文學系 ] 研究計畫

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