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WANG-DISSERTATION-2018.Pdf (1.469Mb) Copyright by Ming-Huei Wang 2018 The Dissertation Committee for Ming-Huei Wang Certifies that this is the approved version of the following dissertation: Performing the Lyrical: Lyrical Essay and the Written Vernacular Mandarin Tradition in Postwar Taiwan Committee: Sung-sheng Yvonne Chang, Supervisor Katherine Arens Kirsten Cather (Fischer) Chien-hsin Tsai Performing the Lyrical: Lyrical Essay and the Written Vernacular Mandarin Tradition in Postwar Taiwan by Ming-Huei Wang Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2018 Dedication To Ming-Chen, Hsiao-Mao, Hsu-Yueh, and Shih-Kui Acknowledgements This work would not have been possible without the guidance and support of my mentor and advisor, Dr. Sung-sheng Yvonne Chang. She has taught me more than I could ever give her credit for here. She has shown me what it means to be a scholar and a mentor by her example. In my pursuit of this project, her infectious enthusiasm and ardent curiosity for knowledge have always been the greatest inspiration to me. I also would like to pay special thankfulness to my committee members, Dr. Katherine Arens, Dr. Kirsten Cather, and Dr. Chien-hsin Tsai, for their extensive professional advice and valuable comments on this work. My thankfulness also extends to the faculty, staff members of the Department of Asian Studies, whose services provide an environment that made this work possible. My research could not have been completed without the generous support from the Taiwan Studies Program Enhancement Fellowship, the Louise J. Faurot Memorial Endowed Fellowship in Chinese Studies, the Graduate School Recruitment Fellowship, and the East Asia Graduate Fellowship during my graduate study. I also would like to express my gratitude to the staff members of the National Taiwan Library, who have provided much help during my research period. I am grateful to all of those with whom I have had the pleasure to discuss many of the issues addressed in this work during the course of my graduate study. Special thanks go to my fellow doctoral students and friends, Tien-wen, Flora, Qingzi, Maeri, Kummy, Tatsuya, Hsiao-Wen, Mu-Min, Mung Ting, Michelle, and Shu-Wen, whose intellectual and emotional support have been so valuable to me during these years. I would also like to thank the members of my family. The unconditional love of my grandparents has nourished me and is with me in whatever I pursue. My sister, Pei-Chi, and my brother, v Kwan-Ju, have supported me in actions, rather than just in words. Dosha and Anzo have given me generous emotional support during the writing process. Lastly, words cannot express how much the support of my husband, Ming-Chen, has meant to me during this journey. Without his faith in me, I would not have gotten this far. vi Abstract Performing the Lyrical: Lyrical Essay and the Written Vernacular Mandarin Tradition in Postwar Taiwan Ming-Huei Wang, Ph.D. The University of Texas at Austin, 2018 Supervisor: Sung-sheng Yvonne Chang Lyrical essay in Taiwan is arguably part of the most distinctive literary legacy of the Republican era of China. Despite its prominence in respective cultural contexts, the lyrical essay suffers from marginalization in the fields of modern Chinese and Sinophone literary studies, which suggests the lack of a proper framework for discussing this conservative strand of literary legacy. Emphasizing the performative dimension of lyrical essays, this dissertation probes how the lyrical essay functions by negotiating between personal emotions and common moral codes, and how it promotes a mode of literary practice that mediates moral judgments, emphasizes interactions with the society, seeks the reader’s approval, and celebrates the ritualistic repetition of specific themes. This dissertation emphasizes a period of transition in the 1980s and 1990s, during which Taiwan’s advance toward democratization and globalization created a discursive space within which the lyrical essayistis attempted to redefine a self between the new social reality and the generic conventions. The performativity of lyrical essays, for the most part, has been concealed by the belief that sincerity is the core of the style and that lyrical essays are stamped with the writer’s individuality. This dissertation includes four vii case studies, each exploring a different aspect of how lyrical essayistis cope with or challenge the lyrical essay’s conventions of performativity and sincerity, as well as the artistic expectations that work toward forming an ideal textual model. This study also probes how the literary virtue endorsed by the lyrical essayistic practice faced serious challenges after the 2000s, during which time the new sensibilities and digital institutions of diffusion changed expectations regarding how personal emotions should be produced and consumed. This dissertation offers an angle that highlights the unique nature of the lyrical essay and serves as a potential lens through which a comparative study of the lyrical mode of literary practices becomes more attainable. viii Table of Contents Introduction ......................................................................................................................... 1 The Literary Legacy of China’s Republican Era ............................................ 1 Morality, Introspection, and the Chinese Lyricism ........................................ 7 The Lyrical as a Performance ....................................................................... 11 Outline of Chapters ....................................................................................... 16 Ch1: From Colloquial to Archaic: The Mandarin Baihuawen Tradition in Postwar Taiwan ......................................................................................................................... 20 The Path to an Ideal Textual Model ............................................................. 20 Two Translations of a Japanese Classic ....................................................... 26 “Direct Translation” ..................................................................................... 35 Traditional Sensibility in a Modern Vessel .................................................. 40 Classical Chinese as Cultural Capital ........................................................... 48 Conclusion .................................................................................................... 55 Ch2: The Performative Femininity: Chien Chen and the Female Lyrical Essay in the 1990s ............................................................................................................................ 57 The Literary Mind ........................................................................................ 57 Section 1: Lyrical Performance and the Performative Lyrical ................................. 62 Author, Narrator, and the Narrated ............................................................... 62 The Performance and the Performativity of Lyrical Essay Writing ............. 69 The Moral Self .............................................................................................. 78 Section 2: Chien Chen and Redefining the Selfhood in the Transitional Period ..... 84 Fictionalizing the Lyrical Essay ................................................................... 84 Reifying Self-Cultivation ............................................................................. 86 ix Conclusion .................................................................................................... 92 Ch3: Localizing the Lyrical: Yang Mu, Hsu Ta-jan, and the Lyrical Essay ..................... 94 Localizing the Lyrical ................................................................................... 98 Chineseness, Taiwaneseness, and the Worldness ....................................... 107 The Right-Fielder Romanticist ................................................................... 110 Liberal-Humanism in Postwar Taiwan ....................................................... 113 Lyrical Style Revised ................................................................................. 121 The Confucian “Cheng” and Romantic Sincerity ...................................... 126 Conclusion .................................................................................................. 131 Ch4: The Thirty-Three Years’ Dream and Writing the Sincere in the New Era ............. 133 A Failed Memoir ........................................................................................ 133 Section 1: The “Honest” Lyrical Essay .................................................................. 138 From Performative to Descriptive: On an “Honest” Self-Portraiture ........ 138 The Last Forty Chapters: Between Emotion and Text ............................... 151 Section 2: The Crises of Lyrical Essay .................................................................. 157 Articulating the “Productive” Emotion ...................................................... 157 Sincerity in the Digital Age of Lyrical Performance .................................. 166 Conclusion .................................................................................................. 173 Conclusion ....................................................................................................................... 175 Bibliography ...................................................................................................................
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