Académique Documents
Professionnel Documents
Culture Documents
Literature in Taiwan
The Cases of Chin-shu Huang, I-wen Chung and
Da-wei Chen
1967-
1969-
1969-
Abstract
This research aim of this paper is the homeland representation in Chinese Malaysian
literature in the 90s in Taiwan. With this research purpose, the researcher focuses on
three Malaysian writers in Taiwan: Chin-shu Huang, I-wen Chung, and Da-wei Chen.
By observing and discussing their representative works in different genres, which are
novel, essay, and poem respectively, the researcher intends to unveil how homeland
representation is written and presented in these works.
The dissertation consists of five chapters. The first chapter gives forth the research
motivation, definitions of related terms, and provides a general description of the
development of Chinese Malaysian literature in Taiwan. Chapter 2 focuses on the
outspoken writer Chin-shu Huang. The characters of his first published two novels are
basically the same: the bakelite forest was described as the horrible, painstaking and
impoverished aspect of life, which may represent the homeland image he has seen
throughout his life. This may also be the indication of the life style in his own
homeland image, in which people need to strive for living. His later works not only
focuses on the writing of bakelite forest, but also use the sarcasm of novel plots to
point out the scattered lives and the identification difficulty of Chinese origin
population. In addition, his cynical tone of speech and attitude also reveal his
mocking of politics and culture. Chapter 3 discusses the I-wen Chungs essay to
illustrate how homeland writing can be elaborated into the stretch of personal
affection. By exploring on the details of life, homeland image is personalized. For her,
the public and the historical structures are not her main points to convey. Rather, the
personal affection and the expanding of homeland images are her main concern.
Chapter 4 focuses on Da-wei Chens epics of the Malay Archipelago. In these works,
he not only uses the Malay Archipelago history as his context of narration, but also
plays as the narrator of the Malay Archipelago history. In this way, the grand
homeland image of his work is revealed. As he frequently merges the image of Malay
Archipelago history in his poems, by reading his poems, it seems that the readers
could experience and, even in advance, construe the history within this writing
context. Chapter 5 then gives a summery of this research.
Key words:
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