Taiwan had been colonized by different regimes and thus experienced several waves of immigration in history. Traditionally, there are two forms of writings in Taiwanese language (not Chinese language) --The Chinese character and the Romanized Taiwanese in different historical perspectives -- as a result , it can be problematic especially in its written form. The establishment of the newspaper Tâi-oân-hú-siâⁿ Kàu-hōe-pò which was founded in 1885 had gradually increased the works of Taiwanese literature. This research analyzes the writing problems of Taiwanese literature in the aspects of Epistemology and Aesthetics. It had different totalitarian rules in modern Taiwan have caused two big controversies in the ways of writing systems in Taiwanese literature. Along the controversies on Taiwanese language and its writings that I quoted, the thinking of the movement of ¡§consistency between speech and writing¡¨was originated from the modern Japanese literature, especially the viewpoint¡§inner man¡¨and¡§scene. On the other hand, language issues in European philosophy already has a very long tradition of reflection, which, at first appearance, considers of philosophy that language as merely a tool to represent thinking. After the linguistic turn and the rise of literature, European philosophy of thinking about language problems, has transformed the thinking about language problems from the appearance from the classical theory into the viewpoint that regards language as the material and the machine to my research. This research embarks from the idea of¡§consistency between speech and writing¡¨in the ¡§scene¡¨ regarding the epistemological mechanism, and the philosophy developed by Maurice Merleau-Ponty as to body language, body language as an expression of ideas, reflecting on the perception and cognition mechanism of Taiwan philology system, whit which is formd during this ¡§abstract movement¡¨ . And is how the ¡§abstract movement¡¨ becomes as abstract machine? This research employed Gill Deleuze¡¦s concept of ¡§body without organs¡¨ and ¡§machine¡¨ to analyze the writing problems of Taiwanese literature. From the viewpoints of Deleuze and Guattari, the issue about written forms of Taiwanese literature can be considered as a progress from epistemological mechanism into the ¡§machine¡¨, and thus forms a virtual power of aesthetics.

In the 21st century today, the language was the earth resource already was United Nations's mutual recognition, in 1999 the United Nations Educational, Scientific and Cultural Organization (UNESCO) drew up specially, started from 2000, every year February 21 decided as the world mother tongue date,When the various countries complete the protection mother tongue diligently the work, certainly Taiwan is not exceptional, in order to therefore save it to lose, announces ¡§nine year consistent curriculum summaries¡¨ according to the Ministry of Education the stipulation, from 2001 the national elementary and middle schools comprehensive implementation ¡§the mother tongue teaching¡¨, stipulated the mother tongue belongs to the language domain teaching scope, every Monday hall class. But, the mother tongue teaching because of factor and so on politics, economy, society, education policy influences, many is only pausing the stage which reads, the writing teaching is being unable continuously the comprehensive impetus; However Taiwanese this language language characteristic, solid suitable poetic composition language application, therefore the present paper takes "Whale Of Taiwanese Literature" in the magazine nan the whelp poem is an example, makes the Taiwanese child poem compared with the adult and the Taiwanese child poem which does with the child, its language use characteristic difference, reorganizes induces in these poetic compositions aspect and so on words and expressions use, content performance and sound rhythm characteristics and the difference point of difference, makes the Taiwanese child poem course content the key suggestion. But this paper chapter arrangement for first chapter in introduction several, instruction booklet this paper motive, value, limit, scope and method. Meets down, the second chapter will carry on the discussion the part will be the so-called literature discussion work. Third chapter, we by 20 Taiwanese Tong Shiwei the text, the adult, child each ten, from the glossary use, the content performance skill and the sound and so on three aspects carry on the analysis. The fourth rules are compare the adult and the child poetic composition difference. Finally in the fifth chapter of conclusion, will summarize the poetic composition characteristic and the difference which front the induction three, four chapter of institutes will discuss, and will coordinate student's basic capability, proposed will carry on Taiwanese Tong Shi to write the instruction course content to suggest, in the synthesis will be the books paper chapter arrangement.

The author seeks to compare the Chinese and English editions of Wu Zhuoliu’s (1900-1976) Orphan of Asia (1956). Through the analysis of several characters and the political ambiguity within the text, the author first attempts to compare the two target translations of the original Japanese text. In addition to the close reading of the novel(s), the author employs paratextual analysis of the Chinese and English versions of the story in order to challenge the publishing practices of translation. The re-reading of translations thus includes an investigation of the content of the story as well as the packaging of the text. The objectives of this project include adding to the research completed on Wu’s canonical text, in translation studies, and in paratextual studies.

The author seeks to compare the Chinese and English editions of Wu Zhuoliu’s (1900-1976) Orphan of Asia (1956). Through the analysis of several characters and the political ambiguity within the text, the author first attempts to compare the two target translations of the original Japanese text. In addition to the close reading of the novel(s), the author employs paratextual analysis of the Chinese and English versions of the story in order to challenge the publishing practices of translation. The re-reading of translations thus includes an investigation of the content of the story as well as the packaging of the text. The objectives of this project include adding to the research completed on Wu’s canonical text, in translation studies, and in paratextual studies.

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This dissertation examines how modern literature in China, Japan, Korea, and Taiwan in the late-nineteenth to the early-twentieth centuries was practiced within contexts of these countries' deeply interrelated literary traditions. Premodern East Asian literatures developed out of a millennia-long history of dynamic intra-regional cultural communication, particularly mediated by classical Chinese, the shared traditional literary language of the region. Despite this transnational history, modern East Asian literatures have thus far been examined predominantly as distinct national processes. Challenging this conventional approach, my dissertation focuses on the translational and intertextual relationships among literary works from China, Japan, Korea, and Taiwan, and argues that these countries' writers and critics, while transculturating modern Western aesthetics, actively engaged with the East Asian cultural tradition in heterogeneous ways in their creations of modern literature. I claim that this transnational tradition was fundamentally involved in the formation of national literary identities, and that it enabled East Asian literati to envision alternative forms of modern civilization beyond national particularity. The dissertation is divided into three parts according to the region's changing linguistic conditions. Part I, "Proto-Nationalisms in Exile, 1880s-1910s," studies the Chinese literatus Liang Qichao's interrupted translation and adaptations of a Japanese political novel by the ex-samurai writer Shiba Shiro and the Korean translation and adaptations of Liang Qichao's political literature by the historian Sin Ch'aeho. While these writers created in transitional pre-vernacular styles directly deriving from classical Chinese, authors examined in Part II, "Modernism as Self-Criticism, 1900s-1930s," wrote in newly invented literary vernaculars. This part considers the critical essays and the modernist aesthetics of fiction by Lu Xun, Yi Kwangsu, and Natsume Soseki, founding figures of modern national literature in China, Korea, and Japan, respectively. Part III, "Transcolonial Resistances, 1930s-40s," addresses the wartime period, when the Japanese Empire exploited the regional civilizational tradition to fabricate the rhetoric of the legitimacy of its colonial rule. This part especially explores the semicolonial Chinese writer Zhou Zuoren, and the colonial Korean and Taiwanese writers Kim Saryang and Long Yingzong, who leveraged that same civilizational tradition and the critiques thereof, in order to deconstruct Japanese cultural imperialism outside of nationalist discourses. / East Asian Languages and Civilizations

兩岸的女性小說在八０年代呈現出若干相似性，而這裡頭除了主題性傾向之外，主要包括了作品形式；換言之，別於同代的男作家對於後現代、後設小說（台灣）或先鋒尋根小說（中國大陸）的著迷，兩岸的女作家在此時段中基本上都守住了寫實手法，而並沒有像其男性同仁那麼大量的投入實驗性寫作。同時，這一點（兩岸女作家對於寫實手法的偏愛），加上就作品內容而言，與日後的女性文學比較起來，八０年代的女性小說的確表現出較為狹窄的格局，如上兩個因素恐怕逐漸造成此時段的女性文學最近極少成為學者的研究對象。 因此，為了突破既有的研究成果且開闢一些新的研究面向，本論文則除了主題性之外主要從寫實主義觀點切入，將小說形式結構與內容主題相結合進行探析；同時，也注意當時女作家所表現出來的自主性及自覺性，將之視為八○年代兩岸女性文學過去較未受到矚目的重要表現。此外，就「寫實主義」這個觀念而言，本文參考了這一二十年來中、西方學者對於寫實主義的再發現、再詮釋的成果，將寫實主義定義為一種不間斷的「過程」、一個需要不斷加以潤飾修正的文學形式，並且透過這個較為彈性的觀念，選取兩岸代表性的女作家各五位，藉由她們的作品，對兩岸女性文學在八０年代所經歷的從「現實」到「寫實」的過程進行了分析且比較。 首先，如果就台灣女性文學而言，從「現實」到「寫實」描述的是女作家與所處的社會之間的互動，即女作家對於轉型時期女性社會「現實」的高度關懷促使她們在不放棄各自藝術理想之同時有意地選擇「寫實」文學，成為作者與讀者之間主要溝通管道及作家參與、影響社會的工具（甚且社會性愈發強烈的作家／文本，其寫實成分也跟著提高而藝術性相對減少），那麼就對岸的女性文學來講，從「現實」到「寫實」所描寫的則是當時大陸女作家，包括整個新時期文學，從「現實主義」（即社會主義寫實主義）到一般觀念之下的「寫實主義」的轉變過程（把「寫實主義」當作刻意的抉擇要到「新寫實」才出現）──無可諱言，相對於具備了穩固且良好文學個性化與獨特化基礎的台灣（女性）文學，背負了長大幾十年「文學／家為政治服務」的歷史及文化債務之中國新時期（女性）文學，則不得不先經歷一個從「革命／現實主義」到作為創作論而允許作者發揮自己各自的藝術及創作理想的「寫實主義」之演變過程，我們才在論文中被稱為代表了「個人化」寫作路線的王安憶、池莉及方方的小說那裡看到像八○年代台灣女作家類似，大陸的女作家也開始按照自己所設想的創作目的及創作／審美原則（而不是集體化理想衝動所使然）來選取最為恰當的書寫模式及創作技巧。 本論文透過比較視野及文本語境化，分別探討了台、中兩岸女性文學在八○年代所經歷的從「現實」到「寫實」的特定過程，以期勾勒當時女作家的自覺性面向及兩岸女性文學的風貌，並且在彼此對照之下，重新評估八○年代女性寫實小說的價值及其意義。 / During the 1980s, women’s literature from both sides of the Taiwan Strait manifested certain number of similarities, that, apart from the subject matter, include also similarities in structure and form. In other words, in opposition to male writers’ enthusiasm for postmodern fiction and metafiction (Taiwan) or avantguarde and root-seeking literature (Mainland China), both Taiwanese and Chinese women writers favoured realist fiction throughout the whole decade. However, it is my belief, that it is precisely their preference for realist modes of writing (widely criticized since the heyday of poststructuralism) together with the allegedly rather limited scope as far as the subject matter of the 1980s women’s novels is concerned, that gradually caused its inevitable “downfall” – while previously hailed as the “Renaissance period of women’s fiction” in both Taiwan and Mainland China, the 1980s women’s literature from these two regions has in recent years become a topic shunned by both scholars and postgraduate students alike. In order to challenge the existing studies and open up new vistas for future research, this thesis adopts realism as an important point of departure, combining subject matter analysis together with the formal and structural analysis of the texts while also paying close attention to the strong self-consciousness of most of the women authors that should, in view of this author, be reexamined as one of the previously overlooked aspects of the 1980s women’s fiction in both Taiwan and Mainland China. Moreover, following the renewed interest in realist literature within academia during the last ten to twenty years, this thesis adopts a rather “flexible” definition of realism as a continuous “process”, or, in other words, a literary form in a state of flux, that is in a constant need of polishing and amendment. This concept is then applied to a textual analysis of ten representative women authors from both sides of the Taiwan Strait (namely Li Ang, Xiao Sa, Liao Huiying, Su Weizhen, Yuan Qiongqiong; and Shen Rong, Zhang Jie, Wang Anyi, Chi Li, Fang Fang) in a further attempt to describe and evaluate the process from “reality/socialist realism” to “realism” that characterizes Taiwanese and Chinese women’s literature during this particular period.

楊逵在臺灣史上既是重要的社會運動家，也是知名的文藝工作者。從實地領導臺灣農民組合與臺灣文化協會，至以創作批判臺灣總督府扶植資本家成立製糖株式會社、臺灣拓殖株式會社等企業，假借農村繁榮和開闢山林為由，對臺灣土地進行的強取豪奪，楊逵從普羅大眾的視角出發，以左翼的社會運動與社會主義現實主義文學創作積極介入社會改造，堅定地表達反對殖民統治與階級壓迫的基本態度，擘畫公平、正義、民主、自由的理想社會。 一九四○年代，歷經日本殖民統治與國民黨政府兩個威權體制的高壓統治，臺灣人不僅因政權之遞嬗兩度變換國籍，也由於皇民化運動的推行與戰後全盤的中國化運動，遭逢兩次不同的國語政策與文化措施。毫無疑問，四○年代短短十年間是臺灣歷史上變動最為劇烈，也是考驗知識分子最為關鍵的時刻。可惜由於牽涉到皇民文學與二二八事件等政治上的禁忌，楊逵在這段時期的活動記錄幾乎呈現空白的狀況。本論文以《楊逵全集》編譯計畫進行期間，所蒐羅楊逵各類型的作品及其各種版本為基礎，配合近年間出土的第一手史料，藉由文學文本、歷史語境、文化現象等各方面的交互考察，為四○年代楊逵的社會運動與文藝活動進行補白的工作。此外，並借助薩伊德後殖民論述，檢視楊逵知識分子的文化立場，重構楊逵圖像。 在爬梳豐富的文獻資料之後，筆者發現無論外在環境如何艱困，楊逵總是能從艱難的時局縫隙中找尋出路；無論以文學創作針砭時政，或藉編輯刊物傳布左翼文學思潮與作品，或與日本、中國左翼作家間的交流與合作，莫不延續二○、三○年代勇敢對抗國家機器與霸權文化的批判精神，自始至終未曾偏離社會主義的階級立場。透過四○年代楊逵文學與思想的歷史研究，希望本論文不僅能為日後更為深入與更為全面性的楊逵研究做出貢獻，並能有助於了解臺灣知識菁英面臨政權更迭時的困頓與掙扎，及其社會參與和文化抗爭等諸多面向。

本論文旨在研究姚一葦先生的翻譯、美學理論、戲劇創作與文學批評的建構及其文學現代性的思考，並藉由此個案關注臺灣戰後現代文學與中國新文學──特別是五四文學、現代主義文學──之間的關係。 　　在研究方法上，本論文首先透過史料的輯佚工作，尋得姚一葦在大陸時期的創作，以此重構姚一葦在大陸時期的閱讀史與創作歷程，探索其文學觀與批評觀的形塑與實踐，並從中考察臺灣戰後文學與中國新文學、世界思潮的銜接與鍛鑄。另一方面，本論文有計畫地訪談了曾與姚一葦從事文學雜誌編輯工作的編務委員，包括《筆匯》雜誌的尉天驄先生、《現代文學》的白先勇先生與柯慶明先生。意欲透過基礎的口述歷史記錄工作，深化報刊研究的信度與深度。 　　姚一葦是從大陸帶來五四後的現代主義文學的代表之一。打破傳統禁忌和創新求變的五四精神，給予這位現代主義推手精神上的鼓勵，使臺灣現代主義有了歷史傳承的意義。姚一葦最初所接受的現代主義，應溯源自1930年代的中國上海、承繼自施蟄存在《現代》雜誌中所提倡的歐洲大陸（尤其是德奧系統）的現代主義。這一點與臺灣六○年代《現代文學》雜誌因其學院派色彩，對於現代主義的介紹大部分承襲於英美的現代主義有所不同，應而也別具意義。 　　本論文透過探討姚一葦促進現代小說的閱讀與臺灣藝術電影之發展的努力為例，揭示姚一葦如何在六○年代更進一步開拓了臺灣現代文學／電影批評的面向及視野，以及他接軌臺灣現代文學藝術與二次世界大戰後的西方現代主義的關鍵地位。他透過日文書籍所接觸到的歐洲現代主義與英美當代文學理論，大部份承繼西方理性主義的觀念，由亞里士多德到康德、謝林、黑格爾，均有深度之認識。1949年以前，中國治美學與文學批評之學者，如朱光潛、宗白華等人，亦多立基於德國古典美學思想體系之上而加以發展。然而，受到政治上的影響，朱光潛、宗白華的體系受到蘇俄左派思想之壓制，使這一脈的美學在1949年以後的中國大陸亦多寂然無聲。反觀到了臺灣的姚一葦在此一階段所作的美學工作，其思想價值便格外值得注意。相較於大陸學者，姚一葦在德國古典美學的理性主義的系統之外，更注意到非理性主義思想系統的美學觀念，立基於此對提倡現代主義不遺餘力。 　　姚一葦的美學理論與文學作品所展現的意義，在理論盛行的今日看來尤具意義。本論文重新回顧姚一葦畢生論述，恰巧也是傳統文學價值的重新肯定、古典美學的最後完成。文學和美學在將來必有不同的發展，但姚一葦為臺灣現代文學所留下的歷史基石，不管是對話或挑戰，必定是不可忽略。