Seminaras apie šiuolaikinę Taivano literatūrą ir kiną

Hsien Hao Sebastian inter copy2015 m. spalio 26–28 d.

Kviečiame į seminarą apie šiuolaikinę Taivano literatūrą ir kiną, kurį ves Nacionalinio Taivano universiteto prof. Hsien-hao Sebastian Liao.

Prof. dr. Hsien-hao Sebastian Liao dėsto anglų kalbą ir lyginamąją literatūrą Užsienio kalbų fakultete Nacionaliniame Taivano universitete, ir yra Kalbos mokymo bei testavimo centro Taivane vykdomasis direktorius. Jis įgyjo daktaro laipsnį Stanfordo universitete, skaitė paskaitas Prinstono, Čikagos, Vakarų Sidnėjaus, Hong Kongo, Nanjing, Melburno universitetuose. Pastaruoju metu kviečiamas skaityti paskaitas įvairiuose Europos universitetuose. Svarbiausios jo tyrimo sritys yra lyginamoji poezija, literatūros ir kultūros teorijos, postkolonijinės ir transnacionalinės teorijos, anglų-amerikiečių, šiuolaikinė Taivano literatūra, romano „Raudonojo kambario sapnas‘ (Hongloumeng) tyrimai, kultūros politika.

Paskaitų tvarkaraštis ir temos:

Spalio 26 d. (pirmadienis), 15.00–16.30 val. Sielos klajokliai: modernistinė literatūra Taivane
Spalio 27 d. (antradienis), 11.00–12.30 val. Šiuolaikinės literatūros peizažas Taivane
Spalio 28 d. (trečiadienis), 15.00–16.30 val. Sudie, Taipėjau: Naujasis ir naujausias kinas Taivane

Paskaitos vyks Vilniaus universiteto Orientalistikos centras, J. Kovalevskio aud.

Paskaitų medžiagą rasite VMA ištekliuje „Seminar on contemporary Taiwanese literature and cinema“. 

Žemiau pateikiami trumpi kiekvienos paskaitos pristatymai anglų kalba:

1) The Soul Wanderers: Modernist literature in Taiwan

Modernism was transmitted to Taiwan via two routes: one through Japan during the colonial period and the other through mainland Chinese writers who relocated to Taiwan with the KMT government after WWII. A minor trend in the colonial period and a suppressed one in mainland China (mainly by left-wing critics and the communist regime), the two accidentally merged in post-war Taiwan and bore the most unexpected fruits. With its sinuous and thick language and individualized subject matter, Modernist literature in Taiwan was able to navigate the political surveillance of the immediate postwar period (one that however was much more relaxed than that in communist China) and became the mainstream mode of expression during the sixties and seventies. Combining influences from Western Modernism and traditional Chinese literary sensibilities, it was able to capture with innovative language and techniques the subtleties of the human psyche at a time when drastic culturo-political turmoil brought about confusion and chaos as well as new outlooks. It was as if all the dammed-up energy of Modernism in its previous lives (in mainland China and during the colonial period) had suddenly found an exit. With the exploding success of Modernist literature and art, Taiwan became the cultural center of gravity in the Chinese-speaking world, disseminated literary and artistic influence to and attracted talents from the Chinese diaspora. It not only helped shape what one critic calls the “first peak of modern literature in Chinese” but even inspired a whole generation of mainland Chinese writers and was directly responsible for the birth of the “Vague Poetry School” (Meng-long Shi) in the eighties in China. Although it was later on severely attacked by the Nativist Movement (xiang-tu wen-xue) as cultural lackeys of the West and for a time became a pariah in Taiwan’s literary world, it is now generally considered the first mature expression of literary modernity in the Chinese speaking world.

2) Visions beyond the Strait: Contemporary Literary Landscape in Taiwan

The reaction of the Nativist (xiang-tu) Movement to Modernist literature brought about a literature that valorized realism, socialism, Chinese nationalism and social engagement, but at the same time, however, it also subjected literature to the manipulation of left-wing ideologies, a phenomenon that was reminiscent of the period leading up to the communist takeover in China. Eventually, in the mid-eighties, two trends that significantly departed from the Nativist Movement developed from this idealistic but gradually stagnated movement. The first was the political-minded Nativization Movement (ben-tu-hua), which carried out a patricidal act by reversing the binary opposition in the Nativist Movement which set China over against the West, the corrupting capitalist evil. For the Nativizationist, Taiwan, allied with the capitalist ideology, was now set over against China, which replaced the West as the main corrupting evil. In upholding a new (Taiwanese) nationalism, this literature inherited the allegorical legacy of the Nativist Movement, making itself the mirror image of Nativist Movement. The other trend, swerving away from the explicitly political and the blatantly allegorical, began to explore the so-called postmodern themes, which helped bring about the second peak of literary flowering in Chinese. Defined in the broadest sense, postmodern literature in Taiwan features a highly playful experiment with language and form as well as a relentless investigation of issues concerning meaning production and ontology while not refraining from engaging with social issues. While formal experiments were explored to an unprecedented extent in many works of this period, social debates were often part and parcel of these same experiments. Recent developments seem to navigate between the postmodern and the nationalist concerns with different gradations of inflection.

3) Au Revoir, Taipei: New Cinema and Post-New Cinema in Taiwan

Taivano kinas interWhile having brought literary attention back to the native soil, Nativist literature eventually got bogged down in the overtly political. But at this juncture, new cinematic orientations born under the Nativist influence began to transform Taiwan cinema and unfolded the New Cinema Movement. This Movement began as a turn toward realism and the rural but its belated participation (beginning the 1983) in the Nativist Movement allowed it to come under postmodern influences as well. Multiple Social concern and a decentered understanding of culture enabled it to go beyond mere realism and engage in themes much more profound than those undertaken both by Nativist literature and its progeny as well as enemy – the Nativization (ben-tu-hua) Movement or the Taiwanese nationalist movement. The New Cinema turned its attention to Taiwanese reality but refused to submit to the Taiwanese nationalist dogma. Its basically left wing outlook enabled it to avoid the exclusionary identity politics that have since the mid-eighties seriously divided Taiwan society. Focusing on the lower class and the marginal, this cinema cultivated a new form of realism and re-invigorated Taiwan cinema that had either been stunted by “healthy” realism or mired in commoditizing itself through sex and violence. Just when the New Cinema momentum seemed to be stalling as we approached the late nineties, there came an unexpected new wave which, Initiated by the accidental success of one film, is often called Post-new Cinema. Of all the different strands in this new wave, one strand seems to be most successful. Curiously enough, expanding on one hint from the New Cinema, it seems to replicate the patricidal act of the Nativization Movement toward the Nativist Movement since it attempts to re-interpret the colonial legacy from a right-wing angle with a view toward consolidating Taiwanese nationalism. However, with the older masters of New Cinema still producing and a younger generation of directors less concerned about identity politics, the Post-new cinema remains charming but uncharted waters.


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