查詢結果分析
來源資料
頁籤選單縮合
題 名 | Rejection of Postmodern Abandon: Zhu Tianwen's Fin-de-siecle Splendor |
---|---|
作 者 | Chiang, Shu-chen; | 書刊名 | Tamkang Review |
卷 期 | 29:1 民87.秋 |
頁 次 | 頁35-65 |
專 輯 | Comparative Studies of Chinese and Western Feminism/Femininity |
分類號 | 863.57 |
關鍵詞 | 朱天文; 世紀末的華麗; Neo-traditionalism; Third cinema; Deconstructed binaries; The abject; Desire; Neo-nativism; Postmodernism; Postcolonialism; Sublimity; |
語 文 | 英文(English) |
英文摘要 | This essay first situates Zhu, in the history of “literary gendering”in Taiwan, as a follower of Zhang Ailing, Taiwan's “literary mother”who stood over against the lterary father, Lu Xun. While her critics claim that Zhu has rejected such postmodernist, politicized feminist concerns as selfhood, economic autonomy and sexual awakening in her writing, returning instead to an implicitly apoliical, traditional Mainland Chinese lyricism, it is argued here that they misunderstand the author, particularly in her most recent phase. For Zhu has moved from neotraditionalism to neo-nativism: as we see in her fiction (Splendor) and her screenplay for the Taiwanese film City of Sadness, she is indeed in touch with the most avant-garde “postmodernist”currents, breaking down such binaries as China/West, colonizer/colonized, tradition/modernity, ego/desire, unity/chaos. This highly sophisticated reading of the author brings into play recent postcolonial theory, “third cinema, ”Lyotard's, kristeva's and Deleuze's views on sublimity, chaos, abjection and desire. Her critics' claim that Zhu is somehow “ahistorical”or “apolitical”misses this author's (very contemporary) complexity, her negotiation of a space “in-between.” |
本系統中英文摘要資訊取自各篇刊載內容。