Who Made It──The Study of Wei Ching-Dei’s Crime Fiction

• Main Authors: Cheng-Pu Lin, 林承樸
• Other Authors: 黃美娥
• Format: Others
• Language: zh-TW
• Published: 2018
• Online Access: http://ndltd.ncl.edu.tw/handle/m2d644

碩士 === 國立臺灣大學 === 台灣文學研究所 === 106 === This thesis, “Who Made It──The Study of Wei Ching-Dei’s Crime Fiction,” investigate the political and social factors that enables the emergence of theses crime fictions. Most previous studies of Taiwan crime fiction during Japanese colonial period focused on studying the genre crime fiction and influences from previous literary works. However, they have not studied whether the cultural logic in these novels would ever been affected by the juridical or political context of the time. This thesis, therefore, aims to study Wei Ching-de’s crime fiction by connecting them to governmental policy, investigation proceedings and crime news at the time. First, it discusses the relationship of criminals and their crime via the criminological studies of the time, and then investigate how these criminological understandings shaped the practice of crime prevention and criminal rectification. It also presenting how news reports on crimes on Taiwan Daily News and how they are understood by readers. In the next section it investigates the spaces and places in which the crimes (in real life and in fiction) happen the most often. If a certain space had not yet existed in Taiwan, why did Wei Ching-de set it in his crime fiction? When committing crimes becomes a tactic to resist governmental surveillance, the threshold of in/visibility then becomes the major tension generated in the crime fictions. The forth chapter reads the concept of order in Wei Ching-de’s crime fiction: how the order is disrupted and then restored, and how does it relates to Wei’s concept of order in general? Finally, this thesis attempts to conclude that Wei Ching-de’s crime fictions contributes not only to the history of crime fiction in Taiwan—but by means of incorporating Taiwan-specific criminological epistemology, he created a much more localized (Taiwanese) crime fictions than readers have been recognizing.