| Summary: | 碩士 === 國立成功大學 === 台灣文學研究所 === 92 === Internal Homeland and Foreign Countries：
A study of Sung-Fen Guo’s Literature and Ideology
This thesis has seven chapters not only aims to discuss the dynamics, strategy and identity imagination of Sung-Fen Guo’s writing since1983 till 1997, but also try to define the position of his work in the 80’s Taiwanese literature.
This thesis contains three parts to discuss Sung-Fen Guo’s writing and ideology:
First of all, this thesis reviews the writer’s lifetime in chapter 2 in order to understand the“ Taiwanese background ” which the writer stressed in some interview. Secondly, chapter 3 and 4 of this thesis try to draw the process in which the writer had been losing his confidence and belief in socialism and nationalism again and again before he published his work in1983. At last, chapter 5 and 6 discuss how the writer introspected the frustration about identity in his lifetime and rebuilt a new identity through his writing. In these two chapters, the thesis uses two analysis frames, “ ecriture feminine” and “cultural identity”. The different opinion Julia Kristeva gave on “ ecriture feminine” is applied in chapter 5 in order to understand how the writer sustainedly mourned over the death of his old imagination of identity and rebuilt a new one finally. On the other hand, the concept of “cultural identity” brought up by Stuart Hall is applied in chapter 6 to analysis the thought about identity through writing. As a writer born in Taiwan, an island which had been colonized by Japan during 1895~1945 and continuously forced by another political power after War 2, he experienced many kinds of cultural identity conflicted inside and tried to negotiate with them through his writing.
Based on the above-mentioned discussion, this thesis tries to define the meaning of Sung-Fen Guo’s work in the history of Taiwanese Literature in the conclusion:
First, in the wave of “political literature” in 80’s Taiwanese literature, although many writers represented their totally mutual-different nation-state imagination throughout writing, Sung-Fen Guo’s writing questioned the essence of nationalism on the contrary. Secondly, in various ways of strategy in postcolonial writing, writers used to mold a “good mother image” to represent a stable and delightful nationalism imagination which revealed their phallogocentric ideology unconsciously. Quite the other way, Sung-Fen Guo’s writing did conscious about this problem and mold his “double-faced mother image” out of the ordinary. At last, diasporas issue is also a important part of Taiwanese literature. However, there was few work actually touch the identity problem of local Taiwanese who immigrated to US and suffered cultural identity problems. Therefore, the “aphasia” characters in Sung-Fen Guo’s writing is much more deeper than the “lost Han spirit” character in Shian-Yeong Bair’s writing in discussing Taiwanese diasporas problem in contemporary Taiwanese literature.
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