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首页> 外文学位 >THE EXILE MOTIF IN MODERN CHINESE LITERATURE IN TAIWAN.
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THE EXILE MOTIF IN MODERN CHINESE LITERATURE IN TAIWAN.

机译：台湾现代中国文学中的流亡母题。

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摘要

The Communists' takeover of the Mainland in 1949 started an age of exile for millions of Chinese people in Taiwan. Nostalgia for the lost homeland has become a dominant social phenomenon. My study, however, is not a sociological investigation into this phenomenon although it tries to examine how this phenomenon is reflected in literature. My study focuses on specific styles of different writers rather than a general theme of exile.; In addition to an introduction and a conclusion which treat exile as a general phenomenon regardless of national boundaries, I also discuss five major writers, namely, Yu Kwang-chung, Yip Wai-lim, Pai Hsien-yung, Chang Hsi-kuo and Ch'en Jo-hsi. In Chapter II, I discuss Yu Kwang-chung's systematic pattern of nostalgia implicit in the images of the call of the bird and the gaze through the sight of the gun toward his homeland, the Mainland. In Chapter III, I try to point out how Yip Wai-lim's exile situations in different spaces are reflected in his juxtaposed images. His images in most cases are self-contained and self-explanatory. Through the autonomy of his images, he transforms the phenomenon of exile as a signified into a self-sufficient signifier. In Chapter IV and Chapter V, I discuss the relationship between the narrator and the narrated, the exile and the non-exile, or the exile and another exile. In Pai Hsien-yung's narrative, an intersubjectivity often takes place between each pair while in Chang Hsi-kuo's stories, a narrator often goes for an epistemological quest. In Chapter VI, I discuss a unique phenomenon: Ch'en Jo-hsi, a Taiwanese, "returns" to the Mainland. Her "return", I presume, is based on a conception of the dichotomy of the homeland and the motherland. Her idealism turns out to be a disillusionment, and her "return" is followed by another leaving to become another exile.
机译：1949年共产党人对大陆的接管开始了流亡台湾数百万人的时代。怀念失落的家园已成为一种主要的社会现象。尽管我试图研究这种现象在文学中的反映方式，但我的研究并不是对该现象的社会学研究。我的研究重点是不同作家的特定风格，而不是放逐的一般主题。除了介绍和结论将流亡视为普遍现象而不受国界限制之外，我还讨论了余光中，叶伟林，排贤勇，张希国和Ch恩乔希。在第二章中，我讨论了余光中的系统性怀旧模式，这种怀旧模式体现在鸟的呼唤和凝视的影像中，这些影像是通过朝他的祖国大陆看去的枪支看到的。在第三章中，我试图指出叶伟林在不同空间中的流放情况是如何在他并列的图像中反映出来的。在大多数情况下，他的图像都是自成体系的，而且不言自明。通过图像的自主性，他将流放现象作为一个表示符转换为一个自给自足的表示符。在第四章和第五章中，我讨论了叙述者与被叙述者，流放者与非流放者或流放者与另一位流放者之间的关系。在排贤勇的叙事中，每对之间经常发生主体间性，而在张希国的故事中，叙事者常常去认识论的追求。在第六章中，我讨论了一种独特的现象：台湾人陈乔熙“返回”了大陆。我认为，她的“回归”是基于对祖国和祖国二分法的构想。她的理想主义被证明是一种幻灭，而她的“回归”紧随其后，成为另一位流亡者。

著录项

  • 作者

    CHIEN, CHENG-CHEN.;

  • 作者单位

    The University of Texas at Austin.;

  • 授予单位 The University of Texas at Austin.;
  • 学科 Literature Comparative.
  • 学位 Ph.D.
  • 年度 1982
  • 页码 p.2341
  • 总页数 358
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 文学理论;
  • 关键词

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