戰後台灣文學ê發展過程裡,1980年代ē-tàng講是政治文學浮頭ê時代。特別是各種無全題材、手路ê政治小說,tī解嚴前後親像湍流ê溪仔水溢kah滿流直界。百外冬來,因爲外來統治者有意滅絕台灣人ê母語,致使tī台灣土地上成作後進文學ê台語文學,tī 1987年解嚴前後出現3篇重要ê政治小說:胡民祥ê〈華府牽猴〉、宋澤萊ê〈抗暴今打貓市〉佮陳雷ê〈美麗ê樟腦林〉。本論文主要ê重點就是beh探討tī解嚴前後ê時空下底,3位有代表性ê台文作家,in ê書寫策略有Sánn-mth無仝?透過各人無全ê書寫策略,tī推sak台語文學ê一致目標之下,20外冬後kā翻頭看,的確ē-tàng看出:儘管各人策略無全,台語文學創作成績ê累積,絕對是1項真tú真、嚴格考驗ê技藝競賽,上重要是作家ê親手實踐,(特殊符號略)是huah任何口號就ē-tàng達成ê目標。
In the 1980's political literature emerged as a radical genre in the post-war context of Taiwanese literary movement. In and around 1987, when Martial Law wase abolished, many literary works, concerning various subject matters and in a different styles, appeared. In this context, there were three important works of fiction illustrating Taiwanese (Tâi-gí) literature as a emergent genre: 'Brokers in Washington' by Ôo Bîn-siông; 'The Revolt in Tá(superscript n)-niau City' by Sòng Tìk-lâi; 'Beautiful Camphor Forest' by Tân Luî. This article focuses on distinguishing these works from each other in terms of writing strategies. What do these three representative Taiwanese fiction writers have in common in their efforts to promote Tiwanese Literature' Which distinctive writing strategy did they wield to achieve their common aim in spite of their differences in artistry?
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