| 摘要: | 做為跨文化研究，本論文集中討論出生日據時代台灣，本名劉燦波之作家劉吶鷗。全篇共分七章節，導論探討受多元文化薰染者對「他者」此一概念之知覺感受，並經由個人回憶及選集記錄來檢視作家具現代主義色彩之寫作。一、二章直視劉吶鷗旅居台灣、日本、中國，並彼時殖民地、帝國主義、國族主義影響作家文化、政治身分認同轉變。第三章透過作家於語言學之使用，解析其身分認同之形成。第四章聚焦日本新感覺派及旅居之生活經驗對作家作品之影響。而作家對電影藝術之探索、日本詩作之翻譯則為五、六章重點。作為一個完熟的藝術家，第七章則呈顯作家於雜誌封面所描繪之自畫像。長期旅居之經驗使得作家文化視角、文學表達方式亦顯現多變流動之感，其遺留後人之文學資產正顯露了濃重現代主義色彩。
This Paper is an intercultural study of only one character, Liu Na''ou (1905-1940), his name of birth is Liu Canbo, borned in Taiwan under the Japanese Occupation (1895-1945) and evolving in the artistic background of the urban culture which the world of Shanghai offered to the turning of the beginning of the twentieth century.
This study is composed of seven chapters. The introduction will pose the bases of the problems of the perception of Others in a multiculturalist situation, by basing us on the case of Liu Na''ou. We will examine in the same aims the role of the memory in the collective and individual conscience, through various meanings of expression that we could find.
The first two chapters will carry on Liu Na''ou through his short life of man sailing between three national spaces, the colonial Taiwan, the imperialist Japan and the nationalist China, which have with their own manners contributed to his cultural and political identity evolution. This identity formation will be studied here, through his linguistic representations. In the third chapter, we will be interested in his political evolution, or to be more exactly, apolitical. Then, in the fourth chapter, we will study his modern literature inspired by the various experiences gained at the time of his geographical shifts, and the influence That the School of the Japanese New Sensations had on his work. The following chapter is devoted to his visual art in its broadest direction. We will fly over his activities in the Cinema, to stop us on the only remaining trace of his cinematographic works in order to try to understand his approach with respect to this art. We will continue in the following chapter by a reading of his translations of Japanese poems. Finally, to show that Liu Na''ou was a complete artist, we will examine his illustrations of covers of magazines which he drew himself.
To conclude, we will be able to observe how Liu Na’ou sailed among his various identities, his various spaces of expressions. But, especially in what kind of context this dominant cultural identity appeared. What will enable us to lean on the heritage that he left behind him. |
