| Summary: | 碩士 === 國立中興大學 === 台灣文學與跨國文化研究所 === 101 === The trend of modernist literature had possessed profound complexity and great importance for the development of the history of post-war Taiwanese literature. Since the 1950s, the horizontal transplant and the modern poetry movement based on learning from western poetry had been emphasized; in the 1960s and 1970s, the position of Taiwan modernist literature and the aesthetic creation had finally been settled. The debate on modern poetry in the 1970s and the following debate on Taiwan nativist literature and its punitive expedition against modernist literature had thrown a great impact on literary supplements before lifting the martial law. After the 1980s, modernism had been still the aesthetic paradigm of the creation of literature and art in Taiwan. Both writers and image workers had made a considerable impact on the heritage of the core awareness of modernist aesthetics. Modernism had transformed as the core of the mainstream; when in combination with the Kinmen literature that placed in the “non-core position” of Taiwan’s literary world, what kind of sparks it would cause?
Kinmen is located in the frontline areas and has long been classified as a battlefield, where the living of the army and the people has huge gaps and differences from Taiwan. Born in this particular place, Ke-quan Huang has always been sensitive to the recognition issue during his whole life. After having experienced the chill atmosphere in the frontline, Huang has complex emotions towards the peaceful life in Taiwan. His unique life experience and factors have affected his way of thinking, and such an influence has further shown in his works. Wearing a “modernist robe”, Huang has strongly questioned his hometown Kinmen, expressing his sarcasm and complaints that wring the hearts of the people. The development of Huang’s “modern style” is closely bound up with Kinmen, the place he was born. The supernatural and unreasonable themes and unstopped ravings have been interwoven with the simple and plain landscape in Kinmen, revealing the twisted humanity under the operation of the state machine. Based on these features, the author attempts to discriminate the meaning of “existence”, the absurd aesthetics of loneliness and alienation, and the fantasy writing about the ugly reality of war wounds that desired to convey throughout Huang’s text to organize and order the real rustic/thrilling appearance of Kinmen Island under the military administration system.
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