| Summary: | 碩士 === 國立中央大學 === 客家語文研究所 === 105 === Chapter 1 is Introduction.The analytical comparison between original script "Return to Motherland" by Li Qiao and its adapted film script "1895" in terms of their content structures and plots was discussed in Chapter 2.
In Chapter 3, the different thematic mental consciousnesses and territorial identities in these two scripts were discussed from the psychoanalytic perspective. Additionally, the collective consciousness of Hakkas during anti-Japanese war in the mighty torrent of history was analyzed. According to Lacanian psychoanalytic theory, both scripts belong to the symbolic realms. Although their final products are different ( i.e. literature and film ), they both serve the same purpose which is to fulfill the desires in the real realm and this fulfillment can inspire people and lead the society to a harmonic state.
The purpose of chapter four was to analyze the both scripts from New Historicism perspective. I concluded that the story of three Hakka Xiucais (one who passed the imperial examinations during Ming and Qing dynasties in China) depicted by Qiao Li is closer to the reality than other history literatures. The original script as well as the film original are based on official history which take readers back to the anti-Japanese war in 1895, so that they would, once again, feel the spirits of righteousness and territorial defense of Hakka ancestors. Just as what has been advocated in New Historicism, historical literature should actively rearrange the past instead of reflecting it passively.
The main purpose of chapter 5 was to discuss female image depicted in the two scripts from Feministic perspective. I concluded that the female characters in both scripts demonstrated traditional virtues of Hakka women. The difference was that the female leading character, Xianmei, was depicted in "Return to the Motherland" as an independent and self-actualizing woman who was good at both physical and sedative activities. Her modern feministic-orientated personalities were different from the traditional images of a Hakka woman. However, Xianmei was not depicted the same in "1895".
Chapter 6 laid out the conclusion. The writer and the film maker used their own third-person point of views to tell stories which somewhat revealed how their own childhood subconscious memories. Both of them tried to re-construct history. They fought for the Hakkas' discourse right towards Hakka history. Both of them wished that their works could encourage people to be concerned about their territory and history.
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