| Summary: | 碩士 === 臺北市立大學 === 中國語文學系碩士在職專班 === 106 === Luā Hô (1894-1943) is the Father of Modern Taiwanese Literature. He was devoted to the composition of the modern Chinese novels. Although his works may be few, his realism in homegrown literature was regarded as a model by the young generations. During the Japanese colonial period, the government implemented the policy of “national assimilation with the Japanese language” and “education with national characters of Japanese”, Luā Hô was worried about the vanishing of the Taiwanese traditional culture of the Han Chinese. Then he tried his best to liberate the Han Chinese bellows from sufferings. In his opinion, the inferior Han Chinese characters are related to the colonial laws, police, and economy. They were the sources of sufferings for the Han Chinese in Taiwan. The Han Chinese should get out of the concept of destiny and try to change their characters, so that they could create their own happiness and break the fate of colonial rules and assimilation.
With the development of the Modern Taiwanese Literature from the 1920s to 1930s, we could divide Luā Hô’s novels into two periods, the prior periods (1923-1929) and the last periods (1930-1936). During those periods, there were debates between “modern and classic literary debate” and “local literary debate” in Taiwanese literary circles. His criticizes of the Han Chinese characters also varied with the change of the literacy environment which describe in his novel.
This thesis is divided into two parts. The first part is based on the analysis of the inferior character in Luā Hô's novels. The second part is based on the analysis of Luā Hô’s ideal character of Han Chinese. This study follows historical context of the development of modern Taiwanese Literature. As the result, Luā Hô’s ideal character varied with the time. Through the changes of Luā Hô’s mind, we can see his unique shape of the revolutionary thought, and it was driven by his inherent knight-errantry. By reading Luā Hô’s novels via his knight-errantry, we will experience Luā Hô’s intention of criticizing the Han Chinese characters.
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