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Decadence and Taiwanese Images in the Work of Shui-yin-ping
|Issue Date: ||2013-08-28T08:13:37Z
Anti-imperialism and anti-feudalism are central topics in the Taiwanese literary tradition of protest literature during Japanese occupation. Feng-che Poetry Society, established by Shui-yin-ping (pseudonym of Yang Chi-chang) in 1933, advocated surrealistic poetic techniques and displayed heterogeneous style. Such experimental poetry was no doubt an event marked by its avant-garde and globalization. From a social relationship perspective, it can be seen that Shui-yin-ping transplanted European surrealism from Japan. If not to be evaluated as a single issue of "borrowing," Shui-yin-ping's work revealed colonial elite ideology when compared with surrealism in Japan and Europe. Unlike its origin, western modernism, which was a rebellious product of capitalist system, his work was closely related to Japanese imperial colonialism. To escape Japanese censorship, he advocated de-politicized surrealism. Some Taiwanese images were presented from a perspective away from home: Homeland Taiwan was imagined within the ivory tower of art. Homeland, endowed with savage and primal energy, might be the source of power to conquer inner fear. Or it was permeated with darkness and corruption. To conclude, homeland Taiwan was not the final destiny either in reality or in spirit for Shui-yin-ping. It was an aesthetic object that the poet endeavored to build in his ivory tower of art. This kind of literary expression infused exoticism into homeland Taiwan. It not only failed to resist colonialism, but also unintentionally catered to colonial teaching with its unmistakable mark of colonial literature.
|Relation: ||國文學誌, 11: 409-428|
|Appears in Collections:||[國文學系] 期刊論文|
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