| dc.creator (作者) | 羅詩雲 | zh_TW |
| dc.creator (作者) | Lo, Shih-yun | - |
| dc.date (日期) | 2014-06 | - |
| dc.date.accessioned | 19-十二月-2016 14:33:24 (UTC+8) | - |
| dc.date.available | 19-十二月-2016 14:33:24 (UTC+8) | - |
| dc.date.issued (上傳時間) | 19-十二月-2016 14:33:24 (UTC+8) | - |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/105074 | - |
| dc.description.abstract (摘要) | 依據克朗（Mike Crang）對文學與地方及空間建構的看法，地景描寫即是種表意系統。換言之，地景的塑造可視為對地方意識的一種潛在情感表現，也是人與地方之間相互作用的呈現。然而，日本殖民時期（1895-1945）的台灣文學發展，常在政治態度是否正確的意識型態下被台灣研究者檢驗評價，因此犧牲了許多文學意義的詮釋空間。有鑒於此，當我們在勘察殖民時期知識分子書寫台灣的文本時，應可將當中的風物表象視為作家進行精神建構的一種表徵方式予以討論。本文將從戰時四○年代日、台人作家的自傳性小說文本出發，即1942 年博文館發行的中村地平（1908-1963）《青葉若葉》（あおば若葉），與龍瑛宗（1911-1999）〈白色山脈〉（1941）、〈龍舌蘭和月亮〉（1943）、〈崖上的男人〉（1943）、〈海邊的旅館〉（1944）等以「杜南遠」為作者化身的自傳性系列文本，觀察殖民地台灣的風土表象在日、台籍作家自傳性小說文脈中的記號，如何呈現作家在內地（日本）與外地（台灣）之間的主體記憶與情感。再者，析論其二人構築台灣地景的內部過程當中，「台灣」又產生了何種超越政治時局之外的意義？ | - |
| dc.description.abstract (摘要) | In accordance with Mike Crang’s definition of literature and for aspects of place and spatial constructions, landscape description could be treated as the kind of ideographic system. In other words, shaping the landscape not only is considered as a potential performance of social ideology, but also the interaction between people and place. However, the development of Taiwanese literature during the Japanese colonial period (1895-1945) has often been evaluated within political ideology and attitude formation that has sacrificed the interpretable spaces that literary significant. Under such a view, we must reread within inner context of colonial literary scenery under Japanese colonial rule. When we observe the representation of natural scenery of colonial intellectuals, Taiwanese texts during the colonial period, especially from the 1940s, we must see symbolizing of cultural constructions of that era. Therefore, this article will examine Taiwanese colonial author’s autobiographical writings from the 1940s. These texts will include Nakamura Chihei’s Fresh Green leaves (Aoba Wakaba, 1942) and Lung Ying-tsung’s series of autobiographical stories: White Mountains (1941), Tequila and the Moon (1943), The Men on Cliff (1943), and The Sounds of Ocean Waves (1944). All these texts belong to author’s autographical stories from their youth and life experience in colonial Taiwan. This paper explores textual representations and symbols of colonial Taiwanese landscapes from Japanese and Taiwanese authors’ autobiographical writings. We will discuss how they represent subject memories for the “South” during the Japanese colonial period. This paper also sheds light on the construction process of Taiwanese landscapes that express the significance of Taiwan beyond the political spectrum. | - |
| dc.format.extent | 2436256 bytes | - |
| dc.format.mimetype | application/pdf | - |
| dc.relation (關聯) | 臺灣文學學報,24,119-146 | - |
| dc.subject (關鍵詞) | 殖民地;中村地平;龍瑛宗;地景;南方 | - |
| dc.title (題名) | 南方．記憶．殖民地青年：論一九四○年代中村地平與龍瑛宗自傳性小說的地景建構 | zh_TW |
| dc.title.alternative (其他題名) | South, Memory, and Colonial Youth in the 1940s: A Discussion on the Landscape Construction of Nakamura Chihei and Lung Ying-tsung’s Autobiographical Novels | - |
| dc.type (資料類型) | article | en |
