The Homeland Representation in Chinese Malaysian Literature in Taiwan—The Cases of Chin-shu Huang, I-wen Chung and Da-wei Chen

• Main Authors: Fang-li Chen, 陳芳莉
• Other Authors: Feng-Huang Ying
• Format: Others
• Language: zh-TW
• Published: 2008
• Online Access: http://ndltd.ncl.edu.tw/handle/70626765565395287390

碩士 === 國立成功大學 === 台灣文學研究所 === 96 === 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 Chung’s 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 Chen’s 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.