Through analyzing cultural texts such as political propaganda, policies regarding and works of popular literature (as officially coined ”anti-Communist literature” [fangong wenxue] or ”literature and arts of combating” [zhandou wenyi]), as well as Personal files of military personnel, this paper seeks to highlight linkages between exercise of state power, construction of public culture, and ramification of modernity in the fifties Taiwan-an era that is commonly termed that of ”White Terror.” In particular, it attempts to show these linkages as manifested in the constitution of the diasporic subjectivity. It argues that, through certain specific means on both levels of individual and collective identification, the diasporic subject of the fifties could manage to suture itself with the hegemonic state power, and the state could possibly imagine itself as the only legitimate representative of both mainland China and Taiwan. Of particular interest in this paper are means of ”fisheye lens by detour of technology” and that of ”developing pure evil through heterosexuality,” as both coined by the author. In the former case, by detour of visions mediated through ”modern technology,” especially that should theoretically bring about continually accumulative product in terms of either life (such as that involved in constructing the Central Cross-Island Highway) or death (such as that of military forces), the grandeur of the state could be turned into spectacle and then identified by its subjects. In the latter case, by positing heterosexuality as the predicate of both virtue and authenticity, the pure evil of Communism could be made representable.
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