Ming-fong Kuo (Tamsui / Ulm) andAndreas Weiland (Aachen)
Modern Literature in Post-War Taiwan
Modernity is a concept not adequately defined, an ideological
concept well established within the predominant discourse since at least
one, if not two centuries.(1) If we speak about “modern Chinese literature”
and “Western influence”, this says a lot about tacit assumptions which
are connected almost ‘naturally’ with the concept expressed by the term
‘modern’, a term which after all has Western, i.e. Latin, roots.(2)
In East Asia, the advent of ‘modernity’ is usually connected
not only with the intrusion of the Western imperialist world system (Wallerstein)
in China, Korea, and Japan during the 19th century. But by and large it
is also thought to be derived from the ‘cultural impact’ that this collision
and, in fact, intrusion entailed.
If we disregard a preparatory stage or ‘pre-history’ (‘Vorgeschichte’),
that is to say, the influence of Western Jesuits especially on Ming China,
the sporadic military scuffles and, last not least, trade relations which
led to increased contact between Europe and Asia since the 16th and 17th
century, it is possible to speak of a genuine phase of transformation (‘Umbruchsphase’)
leading to a ‘real modernity’ in East Asia which manifests itself in Meiji
period Japan but also in Korea and China, since the end of the 19th century,
in the form of reform movements which finally affected the entire socio-cultural
climate.(3)
The notions of a pre- or proto-history and thus, preparatory
stage of modernity (‘Vorgeschichte der Moderne’) as well as a ‘genuine
transitory phase’ (‘eigentliche Umbruchphase’) reflect the ambiguous and
oscillating use of the terms ‘modernity’ and ‘modern age’ in the West.
What is referred to here is a lack of historical precision implied in the
use of these concepts. In using them in an undifferentiated manner, we
avoid to answer questions like: Since when do we actually encounter ‘the
modern’ and ‘modernity’? And how far do the phenomena referred to by these
terms extend into the present or future? Is post-modernity, and what is
called post-modern, for instance, simply another intellectual current within
a continuing ‘modernity’?
At the same time, the entire frame of reference of the
term ‘modern’ (resp. ‘modernity’), the contextual field (or ‘Umfeld’) of
the debate within which the term occurs, reflects the immanent assumption
that modernity is to be equated with Western modernity and modernisation
in East Asia is nothing but the enforcement of a Western (in itself ‘modern’)
influence which pushes aside indigenous (per se ‘traditional’) forms of
culture.(4)
In the West, the ascent (if not outbreak) of the modern
period is equated, in one sense, with the renaissance(5): the genesis of
Early Capitalism in Northern Italy, Flanders, London, Bristol, Liverpool,
Amsterdam, Sevilla, and so on.(6) At the same time, it is connected (both
logically and chronologically) with the reconquista, and the ‘discovery
of the world’ by Europeans, thus with the origins of the mercantile or
commercial capitalist world system since the 16th century.(7) On the other
hand, and in a more narrowly defined, much more ‘essential’ sense, the
category of the ‘modern’ (and ‘modernity’) has been introduced, although
all but concisely, into the socio-cultural debates of the West as a fundamental
concept before World War II, and has received new attention once again
in the 1950s and 60s. It was used to signify above all certain phenomena
figuring in the history of philosophy, art, and literature, phenomena which
made their appearance at the time of the decisive modernisation of European
and North American industrial societies (and therefore, socio-cultures),
since the 1890s.(8)
In conformity with the ideological quality of the term,
the basic processes underlying the socio-cultural transformations were
usually ignored, such as
- the wave of mergers between large banks and between
industrial companies in the 1890s which led both in the US and Germany
to the appearance of the first big corporations and trusts;
- the modernisation of the forces of production, especially
in the form of a replacement of the steam engine in the wake of the electrification
of industry;
- the modernisation of the régime de production
(and thus of industrial forms of production and of the organisation of
industrial labor) in the newly formed, large enterprises;
- the demographic shifts which were taking the form of
rapid urban growth between 1890 and 1910;
- and at the same time, the accelerated proletarianization
and urbanisation of rural populations which became redundant in the countryside
due to the widespread application of chemical fertilizer (the contribution
of J. Liebig) and the mechanization of agriculture (tractors!).
The socio-cultural ‘reflections’ of these rather ‘hard’
and empirical aspects of social change are perceived, however, and content-wise
they are related to the category of ‘modernity’ (9) : Among them, we note
the dissolution of a relatively homogenous, urban (albeit small town),
petit-bourgeois social reality as it is reflected for instances in the
German-speaking countries by the narrations of Theodor Storm, Gottfried
Keller, but also Adalbert Stifter, and its replacement by a big city and/or
industrial reality first prefigured by G. Freytag, G. Hauptmann (already
his play, The Weavers), and later on, in a more fully developed form, in
the big city novels of the 1920s and 30s. These tendencies, by the
way, make their appearance in France and England somewhat earlier than
in relatively ‘backward’ Germany.(10)
They have in common that they are a reflection of
the ‘modern’ class (and mass) society forming under the influence of increased
and stepped up European and North American industrialization: Intending
a critique of contemporary culture, Ortega y Gasset was later to refer
to these tendencies in a spirit of conservatism. ‘Modernity’ (or ‘the Modern’)
in this narrowly defined sense of the term, as understood in the West,
is nothing but the crisis-shaped, socio-cultural expression of a weighty
and painful transformation process: as it is reflected, above all, by literature,
music, and the arts (here especially by painting, but also by sculpture,
and film) and - on another level of abstraction - by philosophy and the
social sciences.(11)
Within literature, this becomes visible on the eve of
the First World War and, perhaps even more clearly, in its aftermath (expressionism,
dada, surrealism).(12) Within painting, it is prefigured since Van Gogh
and Gauguin, who distance themselves already sharply from Europe and its
dominant culture. Klimt, Schiele and other painters associated with art
nouveau trail in their wake.(13) Then there is the radicalization in the
form of cubism, and parallelly, futurism and surrealism.
A new precision of formal means and intended messages
is realized within this ‘modern’ art in the 1930s by muralists dedicated
no longer to individualist expression but effective readability on the
part of the masses (Siquieros, Orozco, Riviera etc.), a tendency that also
makes itself felt in the paintings of Fernand Léger and the photo-montages
of John Heartfield, and furthermore in certain phenomena of Soviet Art
(1918-28) soon to be suppressed by the cultural bureaucracy; here they
formed the avantgarde of Constructivist art (Tatlin, in the field of architecture,
Vertov, in film art).
In the field of music, we witness a break with traditions
(upheld by Classical composers) in the works of Charles Ives, Webern, and
Hindemith, finally the transition to Zwoelftonmusik and atonality (Schoenberg),
and the appearance of an even more radical avantgarde, represented by the
oeuvre of Satie, Cage, Morton Feldman, Stockhausen, Nono, Boulez, Henze
and Schnebel; a development that is, in one way or other, ‘echoed’ by Toru
Takemitsu and other Japanese and Chinese composers.
Modernity (or ‘the Modern’) in this narrow sense is characterized
by an ambivalent but also rich and differentiated relationship with the
social transformation of the politico-economic structure (or ‘foundation’)
which, though not bringing it about directly, gave rise to or constituted
the preconditions of its formations (as a cultural ‘fact’ or cultural process).
It is on the one hand the optimistic echo or accompaniment
of a modernization thrust and of objective social phenomena herewith
connected which amount, more or less, to a deep and protracted crisis affecting
(and continuing to affect) the European and North American center as well
a semi-feudal/semi-colonial or entirely colonized periphery of the
world system.
On the other hand, is is since c. 1910 and even more
so, from the 1920s to the ‘40s, the expression of a critique and protest
vis à vis the modalities of socio-cultural change, of which it is
both a part and an intended, even though fragment-like expression.
This janus-headed (affirmative, optimistic, ‘bourgeois’
as well as critical, protesting, ‘anti-bourgeois’) essence of modernity
respectively modernism (in the arts, literature, music, philosophy, etc.)
mirrors the schism of a world system focused on North America and Europe,
its division into a dominant center and an exploited periphery, but at
the same time into a prospering and an exploited class in the centers of
the world system itself:
a division which forces the artists, writers, composers,
but also philosophers, historians, economists and social scientists of
this ‘transitional and modernizing phase’ to take sides, consciously or
pre-consciously, and thus to choose between different positions possible
in view of the social conditions and developments which they objectively
encounter.
If the category of ‘modernity’ is of Western origin, the
phenomenon of social transformation here described (a phenomenon which
concerns the relations of production and class relations as well as the
productive forces) and the socio-cultural reactions to this transformation
process are not per se ‘Western’ or ‘European.’
We want to explain this by referring to transformations
in China which announced themselves at the end of the 19th century in the
form of reform tendencies and which were laid bare more openly in the context
of the May 4th movement in, we might say, a very offensive and radical
form.
Lu Xun has formulated as distinctly and determinedly as
no one before him the question regarding the character of ths cultural
revolution, or sociocultural ‘modernization thrust’ which concerned both
the immanently literary means of production (the question whether the artists
were, with regard to their literary techniques [Kunstmittel] as advanced
as was possible at the time, to use the words of Tretiakov or, for that
matter, Walter Benjamin) and the ‘contents’, that is to say, the semantic
realm, the question how they had to confront and were in fact confronted,
as writers, with the changes and the real contradictions of their own time.
The answer was beyond doubt that the renewal of Chinese
literature (as well as that of the entire socioculture of this country)
was not a culturally revolutionary phenomenon which could be seen as nothing
but a reflection of European-North American influence,mediated at most
by a Meiji Japan that had previously succumbed to Western influence. Rather,
Lu Xun recognized the process of interference which we will again come
back to in discussing Taiwan’s post-war modern literatire. Because somebody
EATS BEEF, he IS NOT TURNING INTO A COW for this reason, he formulated
sharply and correctly and polemically, stressing thereby the active side
of the process of reception in China, with regard to the often overemphasized
‘all-determinining’ significance of foreign influences.(14)
He thus interfered in a debate posing the wrong alternative
of opting for either a ‘purely national’ Chinese literature indebted only
to its own, traditional socio-cultural heritage, or advocating a strategy
of wholehearted adoption of and immersion in foreign models, foreign influences.
An alternative, he showed, that lets us choose between dogmatic rejection
of each and every outside impulse, on the one hand, and uncritical,
supposedly passive adoption of an idealized Western ‘modernity’ (and ‘modernism’),
on the other, is as mistaken as is the opinion that modernity is synonymous
with Western (or European) modernity and that modernization can only signify
adoption of a Western (European and/or North American) model of modernization
and one’s own extradition to this model: this, of course, touches to this
very day upon the key questions of the debate on modernization and ‘modernity’
when reflected on a world-wide scale.
We have to make clear that the category of ‘modernity’
is an oscillating, ideological category which refers to the reflection
of ruptures [Brueche] or transitions within the social ‘foundation’
(the productive ‘base’ of societies) and which is taking on concrete and
specific meanings according to the input of different subjects or acteurs
of the sociocultural (literary, artistic, philosophical, etc.) process,
an input which implies interesting and far-reaching choices and decisions
of a partly conscious and partly pre- or subconscious type).
We have to make clear that there exists not only a European
and/or North American ‘modernity’ but likewise a Chinese one, an Arab one,
a South American one, etc.
And possibly these (sociocultural) phenomena are in turn
divided, so that we encounter an affirmative as well as a critical European/North
American modernist tendency. And, let’s say, an Arab modernist tendency
which opens up to a large degree and at the same time uncritically to the
dominant European and North American influences (15), and another one which
seeks to confront both the problem of ‘cultural imperialism’ and (on the
other hand) that of ‘national identity’ as unsolved problems to be tackled,
thus linking up objectively with the debate carried on by Lu Xun and others
in the China of the 1920s and 30s, without being necessarily aware of or
indebted to it.(16)
We face a ‘Latin’ American modernism which is full of
uncritical admiration of European paradigms: for a time, it looked especially
to Paris as a ‘center.’ An example of this tendency is the Argentinian
writer, Luis Borges, just as in tha Arab sphere, Nagib Mahfuz who looked,
above all to the works of Thomas Mann as an exemplary paradigm.(17) On
the other hand, another variant of modernity in the Western hemisphere
south of the Rio Grande has been looking for its own, indigenous, pre-Columbian
heritage as it has made itself felt onto this very day in the lives of
the subaltern classes. It is this latter tendency that has brought forth
critical reactions to Europe and European or North American attempts to
establish a sociocultural hegemony if we think, for instance, of
the work of Miguel Angel Asturias and comparable authors.(18)
We want to stress here that in the case of all these currents
within the specific ‘modernisms’ or ‘modernities’ (be they African, Arabic,
South or South East Asian, South or Central American) it is true that in
this or that way, willingly or not, consciously or not, then only the more
dangerously so), it is correct to say that they have been confronted during
the last one hundred years or so (if not actually, in some sense, for 200,
300, or 500 years) with the more or less dominant influences of a European
and/or North American modernity situated in the center of the world system.(19)
To speak about influences, of Western literature, philosophy,
art etc. - in other words, the entire Western [European and/or North American]
socioculture - on Chinese literature (as part of Chinese socioculture)
means to reflect these observations introduced here as a kind of avant-propos.
It means to take seriously the concept of sociocultural interference, the
insight that influences of one culture do not leave another culture
untouched while on the other hand those influenced (in their historically
developed specificity) contribute unconsciously or consciously to the outcome
of the intercultural reception process, either as blind objects of history
or as awake acteurs aware of their heritage with its strengths and
deficiencies, aware of their present needs, and capable of making informed
and rational choices.(20)
Finally, what we have to understand is that we are not
dealing, summa summarum, merely with an interference or interaction model
in the context of which an ossified, ‘own’, ‘traditional’ sociocultural
reality is meeting with or hitting upon an ‘outside,’ ‘Western,’ ‘fructifying’
reality to which we would owe every ‘modernizing impulse.’
The issue is not ‘Chinese tradition’ vs. ‘Western modernity’ because ‘modernity’
is not to be taken automatically and according to an eurocentric way of
thinking (which takes its own models and concepts as absolutes) as a synonym
of ‘Western’. Indeed we have to insist (as Lu Xun and others have done)
that the Chinese socio-cultural reality has brought forth and continues
to bring forth, on the basis of its own [though not internationally unconnected]
preconditions and contradictions, specific momets [elements] of a Chinese
modernity and that in the processual context of this historical development
it was possible that a preparedness for critical reception of useful impulses
from outside [stemming to a large extent from certain traditions and currents
in Western ‘modernity’] could originate and further develop; something
that in fact happened side by side with uncritical and alienated/alienating
reception processes.
In other words, what is at the root of Chinese modernity
as we see it coming to light in the course of he 1920s, 30s, and 40s, is
a conflictual process of relating both actively, productively, critically
and actively (in so far productively) and uncritically both to the own
heritage and to foreign heritages or parts thereof; something that in the
final analysis also implied the amalgamation and incorporation of ‘foreign’
literary, philosophical, artistic, and other contributions into the ‘own’
culture, thereby ‘enriching’ this culture, i.e. affecting in one way or
other its further development.(21)
Such an approach to the problem of intercultural relations
cannot fail to note, however, that the phenomenon of ‘open frontiers,’
of opening up to ‘foreign’ influences (in our times, usually Western,
i.e. U.S. and European), while it undeniably holds out the promise of ‘enriching’
a culture, can also entail a tendential dynamics of a different sort:
it can bolster a trend of certain social forces within one’s own culture
to idealize Western ‘modernity’ and interpret it as ‘the’ modern culture,
‘the’ modern achievement, per se.
Indeed, such tendencies have been observable, after
1947, in Taiwan in the form of an intensive ‘Americanization’
(a process with both ‘local’ and ‘foreign’ actors involved).
This was especially the case after the KMT-inspired propaganda
literature of army officers turned writers and dutiful housewifes had been
delegated to the scrapheap of history whereas a young generation of writers
was aspiring to ‘international reputation’ and the attainment of a so-called
‘international niveau.’
Even though the culturally conservative social forces
within the KMT bureaucracy attacked this partly ‘existentialist,’ partly
‘psychoanalytically inspired’ literature (produced by those who were formed
in the writers’ workshops of Iowa and elsewhere) as ‘cosmopolitan’ and
dangerous, as ‘pan-sexualist’ and ‘nihilist,’ the more and more dominant,
pragmatic elements within the KMT and the journalists indebted to this
- the sole legal - ‘ruling party’ (in power, since the mid 1940s, thanks
to US protection and brutal application of martial law) soon discovered
this ‘modernist’ literary fashion as commendably ‘international’ at the
very moment when it proved necessary to denounce the socially critical
realist writer of Taiwan, the shantu wenxue school of social realists,
as merely provincial, dated, and lacking in literary quality.
This reinterpretation of the ‘young,’ ‘modern’ literature
in Taiwan occurred before the backdrop of incipient changes regarding the
political rapport de forces, furthermore in the context of fast, though
dependent industrialization, and the formation of a prospering ‘middle
class’ which indirectly profited from the export boom and the increased
demand within the interior market, while the direct producers in the factories
and the countryside were increasingly falling back, in relative terms.
The ‘internationally’ oriented, modern Taiwanese literature
is not only a literature which turned away from the paradigm of the propaganda
literature dominating the literary scene in the years and decades after
1947 [i.e., after the wave of repression touching also the cultural sphere,
that followed the massacres of Feb. 28, 1947]. To a certain extent, it
was also a deeply tradition-less, gratuitious and rootless literature that
attempted to copy (and thus, without any real attempt at mediation, sought
to link up with) foreign, above all French models (Ionesco, Beckett, Camus)
and to some extent, certain North American influences.
Why this was so is easily understandable if we ask ourselves:
Who were the acteurs (or subjects) of this, admittedly diverse and differentiated,
literary movement that still had certain important elements, or structural
affinities, in common?
The new, modern literature (modern: this category implied
to them that they wanted to achieve something that could be equated with
Western forms of modernism!) was, largely, the specific product of a new,
young generation. It bears witness to the nausea of the ‘children’ of writing
army officers and housewives, confronted with a literature that was practically
the only one permitted in Taiwan for a number of years; a literature in
fact not worthy of this name. And it bears witness to political and
cultural conditions which helped to isolate these privileged children of
the ‘middle classes’ (by amd large graduates of universities in Taiwan,
and increasingly also of US universities) in a certain sense while still
furthering a new, and selective openess vis à vis ‘the world’ (or
what was taken to be ‘the world’). Cut off and isolated they were until
the mid or late 1970s, and perhaps even beyond that date, from their own
literature, representing Classical Chinese modernity: works mostly published
on the mainland, in the wake of the May 4th movement, that were now indexed,
banned from the libraries and curricula of the universities; works not
talked about at best, if their authors (renowned writers such as Lao Shi,
Mao Dun, Lu Xun, Ba Jin, Cao Yu) were not openly defamed.(22) This
official strategy of defamation targeted even those authors from Taiwan
who were obliged to use, during the period of occupation (until 1945)
the Japanese language whereas their sujets and their reflection of vibrant
issues of their time made them unquestionably Chinese. It may suffice here
to mention two leading representatives of this critical Taiwanese literature
put in ideological quarantine by the KMT regime: Wu Tso-liu and Chiang
Gui.
Under these conditions, the revolt of the young middle
class authors in post-war Taiwan against the propaganda literature furthered
by the Taipei regime could only be an individualist and ‘cosmopolitan’
one - which took refue to foreign (Western) models to the extent that they
were accessible.
The revolting young writers thus were largely unaware
of important contributions achieved by Chinese modern literature before
1947. In this sense it is just and correct to say that modern(ist) Taiwanese
literature in the 1960s and 70s surfaced anew, without a real and sufficient
knowledge of its own, objective history at a time when the official pseudo-literature
(that was little more than anti-communist propaganda literature) went bankrupt:
a current that reflected essentially the ideology and political slogans
of the KMT regime and that was represented by the so-called ‘Three Fighters
in the Army’ (junzhong san jianke): Sime Zhongyuan, Zhu Xining and Dun
Caihua.
Looking back to this development from today, we may
say that the new rise of post-war modern literature in Taiwan was a passive
reaction, a protest of writers of genuine talent, against a propaganda
literature that literally discredited itself.
It is furthermore undeniable that the new literature was
largely a product of ‘interference’ (interference, comprehended socioculturally,
but nonetheless analogous to interference in physics) between the historically
formed socio-cultural reality of Taiwan in the 1960s and early 70s,
and - on the other hand - foreign, mostly North American and West
European influences: the latter, in the main, mediated by English translations
published in the US.
These influences, of course, did not represent the entirety
(the entire spectrum, so to speak) of US and European cultural production.
Even ‘Western culture’ was accessed selectively, and was selectively accessible,
at least ‘importable.’ Especially the more critical tendencies of the West
remained taboo in Taiwan. The fact that most young authors from Taiwan
at the time stressed the literariness of literature while shying away from
littérature engagé speaks for itself. It also meant that
an option of special interest to some of us who are today studying the
history of Taiwanese [Chinese!] modernity, was slighted if not ignored.(23)
We are referring here to the tendencies expressed by the shantu wenxue
current, a new form of social realism in Taiwan with links to previous,
subsequently defamed and outlawed modern Chinese traditions as well as
specific European influences (Gorki etc.), already encountered in the pre-war
period.
That much said, it is to be discussed at least to what
extent the Taiwanese literature of the 1960s and early 70s that was understood
at the time as modernist and in fact, the beginning of ‘modern literature’
in Taiwan, is connected to a current or currents of an earlier, Chinese
modern literature of the 1920s, 30s, and 40s which was not outlawed in
Taiwan.(24)
If we consider the literary phenomenon here discussed
as one that originated in the 1960s, we must not forget that it had without
doubt forerunners. Already in the 50s, there could be heard what a number
of Taiwanese critics refer to as ‘the modern voice’ in our literature.
Nothing seemed more appropriate at the time as an expression of ‘purely
literary rebellion’ than poetry: a poetry that mirrored an individualist
form of protest as well as reflecting the considerable feelings of alienation
then virulent in the young writers concerned. Considered relatively harmless,
it was the poetic genre which allowed certain writers to proceed towards
a break with a ‘tradition’ that was defined as ‘neo-Confucian,’ ‘traditional,’
and ‘anti-communist.’(25)
We discover, however, in looking more closely at this
phenomenon that the young students and incipient writers (confronted most
obviously with foreign influences at the time) did not necessarily evolve
as the only catalysts or even as the writers who triggered the new
literary ‘start’ [revival; Aufbruch]. Rather, connections with pre-war
Chinese literature are apparent especially in the field of poetry.
Thus, the poet Ji Xuan, who had already published modernist
poetry before the end of the Chinese civil war, and whose name is usually
associated with that of another poet, Dai Wangshu, founded the journal
Xiandaishi
(Modern
Poetry) in Taiwan as early as 1953.
Three years later, he founded the Xiandaishishe (Modern
Poetry Association). It counted more than 80 members, among them such young
poets as Fang Si, Zheng Chouyu, Xinyu, and Bai Quin. They also referred
to themselves as xiandaipai (‘the Moderns’).
The aim of these poets was to start a ‘revolution of
modern poetry’ in Taiwan. In reaction to a literature instrumentalized
by the Taipei regime, there surfaces a strong tendency to assert the autonomy
of literature, even though it is claimed that one does not want to recede
completely into the ivory tower of an unconditional l’art pour l’art attitude.
At least some of these modernist Taiwan poets were too ‘anti-bourgeois’
in an individualist, even existentialist sense, to opt for that strategy.(26)
A literary critic at the time summed up this modernist
revival, as well as the specific debate and the diverse forms of
poetical practice it soon triggered, as follows:
“Everything that could be derived from Baudelaire was
either rejected or circulated.“
This assumption hits the nail on the head. As far as
the essence of the new ‘modernism’ is concerned, the example of Baudelaire’s
attitude seems of central importance. Obviously, this was a modernism
which implied at once ‘protest’ and a surrender in the face of overwhelming
non-literary conditions; conditions that were partly ignored and which
one, at best, pretended to question by relying on form as supreme while
perceiving ‘aesthetics’ as an absolute end in itself.
Critics at the time spoke of a ‘horizontal implantation’
as well as an ‘epiphany’ of modern Western literary models and paradigms,
confirming thus the adoption of both formal and thematic obsessions typical
of 20th century Western sociocultures. Precise reference to these models
became a prerequisite for any acknowledgement of ‘literary quality’
on the part of the more ‘renowned’ critics as well as those who defined
the ‘guide lines’ of literary production, with a view of furthering the
development of Western poetry in Taiwan.
At the time, the main platforms of the movement, in addition
to Xiandaishi, were Lanxing (Blue Star) and Chuangshiji
(Genesis).
These were without doubt the journals which helped revive
Chinese poetry in Taiwan after a period of incessant decline.
If we may well assume that modern Chinese poetry in Taiwan
in these years was both formally and in terms of its ‘themes’ almost unilaterally
influenced by the West (and this despite certain connections with traditions
of Chinese modernist pre-war poetry that reflected a strong position in
favor of the ‘autonomy’ and non-commitment of all art), this is perhaps
less true of modern prose.
The ‘modernization of prose in Taiwan, in response to
KMT propaganda literature, was attempted initially by a small group
of intellectuals.
In 1956, Xia Jian, then a professor at Taida [Taiwan
University, in Taipei] founded the famous literary magazine Wenxue Zazhi
(Literature Journal).
In its first issue, he addressed his readers as follows:
“We live in a confused time. We do not want to become
naggers but we also do not want to turn into escapists dodging reality.
Rather, it is our belief that any serious writer has to reflect the spirit
of the times. Though we do not reject the beautiful and artful language,
we believe that it is even more important to say the truth.“
This shows clearly that Professor Xia derived his ideas
from the traditions of realism. Wenxue Zazhi fulfilled its function by
furthering such writers as Bai Xianyong, Chen Rueshi, Wang Wenxing, and
Ouyangzi who were students at the time and who later on became well known
authors, even outside Taiwan. In 1959, Professor Xia left Taiwan and went
to the U.S.; the journal Wenxue Zazhi was replaced by another one,
called Xiandai Wenxue (Modern Literature), founded by Bai Xianyong.
(27) The professed goal of this journal was to introduce Taiwanese readers
(and on-going writers) to Western literature; it also aimed to “reflect
the phenomena of the time.“ A l’art pour l’art position was rejected.
Between 1960 and 1973, Xiandai Wenxue presented
texts by numerous Western authors to its audience in the 51 issues that
appeared in this period.
The first issue introduced the readers to Kakfa.
There followed, amongst others, Thomas Mann, Joyce,
D.H. Lawrence, V. Woolf, Sartre, Faulkner and Henry James.
The orientation towards Western models and the price paid,
a complete neglect of pre-war Modern Chinese literary traditions, is amply
visible.
It is possible in facr to draw a parallel between post-Worl
War II literary trends in Taiwan on the one hand and, for instance, West
Germany and Italy, on the other.
In the West Germany of the late 40s and of the 50s, the
ascendant debris literature (Truemmerliteratur, a literature of
writers picking up the shards after Fascism had smashed Europe, killings
tens of millions, including six million Jews, in what was the latest and
most terribly ‘industrialized’ genocide committed by Europeans) ignored
a pre-war heritage largely unknown to young writers who had grown up under
fascism, a modern literary tradition that was best represented by authors
driven into exile: Heinrich Mann, Anna Seghers, Feuchtwanger, Horwath,
Klaus Mann, Brecht, Kisch, Piscator - even Doeblin, who was perhaps the
least publicly ignored after the war, being a ‘modernist’ who had
been influences, to some extent, by the American writer John Dos Passos.
What was now replacing critical pre-war modern literature was a strong
US influence. The young people starting to write, nauseated by the NAZI
propaganda literature they knew and without much experience as authors,
avidly turned to Hemingway, and US prose of a similar calibre.
In Italy, young writers like Cesare Pavese had already
discovered American literature in the last few years of Italian fascism.
They triggered a similar orientation towards US models.
The political and literary constellations in this regard
that can be discovered in post-civil war Taiwan are very similar. What
we see is a Cold War constellation: the critical pre-war heritage is taboo;
on the other hand, authoritarian alternatives in the arts (furthered by
Fascism in Europe, by the KMT in Taiwan) have discredited themselves, last
not least due to the non-ignorable lack of what critics call ‘literary
quality.’
Only two escape routes are open: on the one hand, a tendency,
within literature (and the other arts) which sees art as neutral, as as
strictly an expression of the individual and its autonomy; this is a tendency
that had already played a certain role, inter alia, before the war, in
the respective socio-cultures. Secondly, there are the models offered
by “the great contemporary authors“ of “Western modernism.“ And Western
modernism, as it is now perceived in countries with a fascist or crypto-fascist
past like Taiwan, Italy, or Germany that have just entered the US orbit,
is of course a ‘modernity’ filtered by a US socio-culture; a modernity
from which modernists like Lu Xun and Gorki, Tretiakov and Brecht in literature,
Rosselini and Mizoguchi (and even a film like The Grapes of Wrath,
by the famous US director John Ford) in film as an art form, were excluded.
In other words, much of what was an intrinsic and enriching part of modern
Western as well as modern Asian socio-cultures, a part without the knowledge
of which many debates cannot be comprehended, was stricken ou and censored
and suppressed in one’s thinking.(28) The circumstances of the time
brought about a selective and restricted reception of the professedly embraced
Western socio-cultural contribution and - as a consequence of years
of unrelenting censureship in Taiwan - also of certain Japanese socio-cultural
influences which were considered anathema.
The wide variety of authors presented by Xiandai Wenxue
mirrors the then current situation; it reflects an understanding
that is certainly a ‘pluralistic’ one, but it is also unmistakably influenced
by circumstances excluding alternatives, and thus appears as contradictory.
Still, the journal cannot be equated with a narrowly
dogmatic position.
Many observers have attempted to distill a ‘common structure’
of Taiwanese modernist works. According to a majority of critics in Taiwan,
its modern post-war literature is charactized as ‘anti-traditional,’ ‘anti-authoritarian,’
influenced by psycho-analytically inspired insights, and extremely
‘artificial,’ as far as its language is concerned.(29) The works of most
modern Taiwanese prose writers appear indeed to reflect a ‘mixture’ of
influences that can be traced to Western post-war modernist literatures
which are defined as ‘free of ideology’ and that claim to pronounce the
autonomy of the individual, on the one hand and, on the other, older Western
influences incorporated by a-political Chinese pre-war ‘modern’ writing.
If the critics are right, we can say that the young authors
representing a new ‘modernity’ in the Taiwan of the early 60s were oscillating
between two poles of attraction: realism and a sort of surrealism. If we
want to use a term coined by the German literary critic, Volker Klotz,
we can say that they oscillated between an ‘open’ and a ‘closed form’ of
their art.
A telling example of the prevailing ‘realist’ as well as
‘surreal’ tendencies of ‘modernist’ Taiwanese literature is the work of
Qidengsheng.
A brief glimpse at his life and the list of his works
may elucidate this.
The real name of Qidengsheng is Liu Wuxiong. When choosing
his pseudonym as a writer, he composed it by selecting the Chinese characters
Qi Zhu Si Shang, thereby indicating his preference and deep admiration
for the so-called ‘Seven Saints of the Bamboo Grove’ (Zhulin qixian), of
the Qin dynasty period.
Liu Wuxiong was born in 1939 in the coastal town of Tongxiao,
situated in the Miaoli district. His father was an official during the
period of Japanese occupation; he was made redundant after Taiwan was liberated
and remained jobless until his death in 1952.(30)
When his father died, Qidengsheng was 13. He grew
up under difficult conditions. He attended the Teacher’s College in Taipei,
studying music and art. Very early on, he developed a penchant for writing.
When age 23, he published his first story, Shiye Puke Zhayouyu. Being aware
of the misère characteristic of his immediate surroundings and also
unable to lead a conformist life, he gave up his job as a primary school
teacher. Between 1965 and 1970, he and his wife had to accept various jobs
in order to make ends meet; they survived as best they could, until he
was finally allowed to return to his job as a school teacher in 1970. In
other words, he feels that he had to accept the fact that it was impossible
to be responsible for the upkeep of a family and to opt at the same time
for an ‘anti-bourgeois’ (or bohemian) form of existence.
From 1983 to 1984 he was invited to teach and discuss
creative writing at the University of Iowa, as an ‘international visiting
author.’ He retired from service as a teacher in 1990, and ever since has
lived from his income as an author.
Until 1991, the date when a first draft of this article
was presented to a conference of Comparative Literature scholars in Berlin,
Qidengsheng wrote numerous poems and prose texts.
An exact list of his publications, among them such well-known
works as Heiyanzhu yu wo, Woai heiyanzhu, Heiyangzhu xuji, Shouxue de
linghun, Cheng zhi mi, Jiangju, Shahe beige, Laidou xiaozheng de yazibie,
Laofuren, Lese, and Yinpo Chibang, shows that among the Taiwanese
writers that began to produce literary works in the 1960s, Qidengsheng
stands out as special. In contrast to the writers of so-called ‘Native
Literature’ (shantu wenxue) who focused on the misery of lowly and
underprivileged people, the direct producers in the countryside and the
cities, at a time of brutal industrialization and who undoubtedly
referred to pre-war European models of realism and naturalism but even
more so to their pre-war Chinese counterparts, Qidengsheng embraces a different
strategy in order to portrait protagonists not well-adapted to the norms
of ‘bourgeois’ society.
The constellation of persons figuring in his works again
and again reflects the binary opposition of ‘bourgeois’ and ‘anti-bourgeois’
(or ‘not well-adapted’, non-cobformist, bohemian, etc.). Remarkably enough,
his ‘anti-bourgeois’ protagonists do not automatically fail in life. His
heroes do not die suddenly, or perish slowly and in utter loneliness under
extremely difficult conditions. Some remain faithful to the ideals embraced
early on in their lives, and yet they attend their goal, being in their
own small way successful even though they remain inescapably entangled
in the painful conditions and social relationships of Taiwanese socio-culture.
The figures of his prose works embrace and reflect the
‘philosophy of life’ typical of Qidengsheng, a point of view frequently
expressed by one of his typical oxymora: phrases like “Viewing with cold
eyes the hustle and bustle of life, experiencing with a burning heart the
sad and grey life...“. We are mistaken if we think that Qidengsheng’s narratives
are not indebted to realism (as is maintained overwhelmingly by most critical
works published on this author). On the contrary, most protagonists
and occurrences in Qidengsheng’s works are so real and ordinary that we
can hardly say which of their qualities are owed to ‘reality’ and which
are owed to fiction (or ‘art’). Qidengsheng’s works are confessions from
his childhood, works reflecting the time when he grew up, and generally
speaking they bear witness to his development as a person.
His more recent works show that he also is concerned about
the more and more catastrophic environmental damage wrought by a ruthless
way of development and its dynamics of industrialization and urbanization
driven above all by the profit motif; in addition, he is seemingly aware,
in these texts, of the conflicts and contraditions between the KMT regime
and the opposition parties which have been legalized recently.
The feature of his work that seems to have buttressed
the mistaken reading of his work as ‘surrealist’ is no doubt his specific
language, his ‘style,’ which appears to many Chinese readers as ‘Western.’
However, there are also certain elements on the thematic level in his oeuvre
which may have been strongly influenced by European or North American
literary works of art. It is these facets which contribute to the impression
of many Taiwanese readers that his writings are ‘strange’ and ‘hard to
understand,’ especially if we look at passages with a certain existentialist
bend.
In his correspondence with the Taiwanese co-author of
this article, as well as the foreword of some of his works, Qidengsheng
lets us know that he loved to read, and in fact imitated, Franz Kafka and
Jiminez. Being also a painter who makes and mixes the colors he is using,
he thinks that a writer has to ‘mix his colors’ just like a painter, and
just like a composer he has to shape language according to his own rhythm.
If we want to sum up the characteristic traits of his
rich and multi-layered literarary production, we can say:
1. His works bear witness to their own, very specific,
anti-traditional ‘linguistic logic.’ This is to say that the author ends,
if necessary, towards ‘his own’ - experimental - use of the Chinese language,
as his material. Something that at times ‘impedes general comprehensibility.’
This tendency of his seems to have been borrowed from ‘modern Western’
models of the post WWII period. It is typical for Qidengsheng that he tends
for instance to do without interpunction, following his own logic of speech.
The result reminds us of stream of consciousness techniques in Anglo-Saxon
(British and North American) novels and as a consequence of this strategy,
the reception of his works demands a considerable effort on the part of
the reader.
The Taiwanese critic Liu Shaoning is critical of this
technique, argueing that Qidengsheng’s sentences "suffer of polyomyelitis,
and therefore are unable to stand by themselves," requiring rather
a wider textual continuum, a continued textual flow. Another critic, Ma
Sen, argued however that Qidengsheng is, in this regard, a genius, an unpolished
jade stone from Taiwan.
2. We notice a symptomatic and meaningful occurrence
of something that has been called, occasionally, ‘an Asian way of thinking,’
packaged, interestingly enough, in ‘Western garb.’
Here, we find interesting starting points for a well-founded
micro-analysis of Western influences on modern Chinese literature in Taiwan,
which should also allow the researcher to countercheck the interference
hypothesis.
3. Qidengsheng’s oeuvre is centrally focused on the discovery
of the Self and on psychoanalysis. At the same time, it is a kind
of ‘modern literature’ which programmatically confirms the position of
‘autonomous art’ and which subscribes to the hypothesis of the ‘autonomous
individuum.’ It reflects the position that the artist, as a creative human
being, is at odds with the day-to-day concerns of his ‘more normal contemporaries.’
Clearly, this oeuvre is based on the experiences of the
author’s own life, with its richness and limitations and idiosyncrasies,
the many hard edges and obstacles which inflict wounds and bring about
joyful moments whe mastered. All this lets us think of the autonomy of
the author as, in fact, a limited one, defined and restricted by objective
conditions and interests (whether he is aware of them, in his writings,
or not). His interest in psychoanalysis serves to make possible a confrontation
with himself as well as as a tentative definition of himself; in his works,
the effects of his psychoanalytical interest can also prove stimulating
and fructifying for his readers.
4. Furthermore, we discover distinct autobiographical
elements in his works. This becomes clear if we remember that his basic
pattern in not that of the disillusioning texts of Kafka; it is rather
a pattern that projects a certain kind of hope to find one’s own little
sphere of happiness: a space where to withdraw, in the face of a sordid
and cruel reality.
This twist seems to mirror in a way his personal experience
as a writer, especially after finding a certain amount of recognition in
Iowa and therefore also in his native Taiwan.
5. Finally, as far as the political dimension of his
work is concerned, it does not seem to go beyond what, at a given time,
could be said without having to face severe repressive measures in Taiwan.
Although he certainly was not the ‘darling’ of the KMT cultural bureaucracy,
it is possible to say that he never took the kind of risks taken by such
authors as for instance Chen Yinzhen or Bo Yang.
Qidengsheng is perhaps not the typical, but a very
distinct and even prolific writer among Taiwan’s Western-inspired post-war
modernists. Writers like him gave credence to the claim of Taiwan’s critics
that for the first time, a modern literature worth its name surfaced on
the island, a literature that attained international standards of literary
quality.
This is not the occasion to confront a current of post-war
‘modernism’ which came to dominate the Taiwanese literary scene since the
1960s with another, more realist current that was linking up consciously
with Chinese pre-war literary ‘modernity,’ i.e. the shantu wenxue
writers. Rather, we want to briefly survey the factors that explain why
Western ‘modernist’ models were avidly received by many authors in Taiwan
especially since the 1960s and 70s.
We witness in fact some structural factors which help
explain this reception process and which we think it necessary to enumerate
at least, even though here we do not find the space to suffienciently analyse
them in detail:
I. The anti-authoritarian reaction against the ‘cultural
program’ of the KMT
This reaction was a product or result of the relative
emancipation of a rising middle class, or more accurately, their young
offspring, attending ‘liberal’ universities abroad, especially in the US.
Perhaps, initially, the phenomenon or carefully limited dissent was spread
initially by US educated Chinese teachers at Taiwan’s universities. Its
appearance was tantamonut to a certain, individualist revolt against the
decreed ‘neo-Confucian renaissance.’ Works opposing or ‘undermining’ the
official Conservative and ‘traditionalist’ program of the KMT regime influenced
a certain number of readers, especially among academic circles, the liberal
professions, educated white collar people, and to some extent also among
university and perhaps even middle school students.
II. The factual separation of Taiwan from the People’s
Republic of China
This separation cemented the cultural attitude of sauve
qui peut la vie, a logic that was draped in emancipatory though individualist
garb. Such a tendency that propagated individualism (in the face of more
deeply rooted rural traditions of mutual help and collective
dependency on each other) reflected the strong wind of competition
that not only Taiwanese capitalists (often mere subcontractors of international
capital) but also the rising bourgeois middle classes were faced with.
It created a climate that trickled down by way of the labor market, accelerating
considerably the rhythm of daily life in Taiwan in the post-war decades.
The tendency perhaps was also strong and successful because of the fact
that Taiwan was under martial law until well into the 1980s.
III. The ‘Americanization tendencies’ felt in Taiwan
The political and economic hegemony established by the
US had and has its cultural dimensions. This means good preconditions for
the marketing of American cultural commodities, furthering the spread of
US ideas, values, literary fashions, and aesthetic preferences - although
it would be wrong to say that they were absorbed in Taiwan without undergoing
certain changes. They contributed however to a far-reaching reception of
contemporary Western literary ‘models’ and thus to a great impact of a
certain ‘modernity.’
On the other hand, this cultural impact, to the extent
that it penetrated not only the middle classes but pragmatic factions of
the KMT bureaucracy, did not only serve to finish off the old, supposedly
‘neo-Confucian’ and starkly ‘anti-Communist’ propaganda literature of the
1950s. It also helped construct an ideological bulwark against critical
social realism with Chinese-Taiwanese roots, at least in the regime-dominated
media and in large sections of academia.
Perhaps, however, the opposition between strongly Western-influenced
‘modernist’ currents in Taiwan and critical, realist shantu wenxue
trends is not an absolute one. We hope that it was possible to show to
what extent authors like Qidengsheng, although they belong to the first
current, in some sense also seem to succeed in bridging the gap.
:
NOTES
* A much shorter version of this article was first presented by Prof.
Kuo Ming-fong at a conference on comparative literature in Berlin in 1991.
As it stands now, the article was completed in 1995. - For technical reasons,
we omit footnotes written in Chinese.
1. The term ‘modernity’ without doubt has been impregnated with the
trace of debates led in Western languages; it has largely come to reflect
a kind of ‘thinking’ that is subjected to a real or pretended Western cultural
hegemony. Cf. H.U. Gumbrecht, 'Modern, Modernität, Moderne', in: O.
Brunner et al.(hg.), Geschichtliche Grundbegriffe, Bd. 4, Stuttgart 1978,
S.93-131; cf. also:
J. Habermas, Der philosophische Diskurs der Moderne, Frankfurt/M. 1985;
and the relevant contributions of A.J. Gurjewitsch, W. Freund, Jacob
Burckhardt, J. Delumeau, A.C. Crombie, R.Olson, A. Schindling etc.
2. Up to now the misconception lingers on in the West, but also in the
People’s Republic of China and on Taiwan that ‘modern’ Chinese socioculture
and the literature that forms part of it are a product of ‘radical Westernization.’
On the other hand, even C.T.Hsia who has himself been so deeply confronted
with Western influences, contradicted this assumption. In his ground-breaking
work on modern Chinese fiction he draws a clear line between the latter
and the “example and challenge of Western tradition“ which, on the other
hand, provided essential impulses as far as „the style and direction“ of
Chinese literature betwen 1919 and 1949 was concerned. According
to C.T.Hsia it was a stimulating example "which has informed its style
and direction.“ (C.T. Hsia, A History of Modern Chinese Fiction, 1917-1957,
New Haven, Conn. 1961, S. VI.)
In his preface to Joseph Lau’s volume of prose narratives from
Taiwan, Hsia is very explicit: "Even during the May Fourth period, (...)
tradition was never something entirely repudiated." (C.T. Hsia, "Foreword",
in: Joseph S.M. Lau (hg.), Chinese Stories from Taiwan: 1960-1970, New
York 1976, S.XV)
3. Cf., with regard to China: K'ang Yu-wei, Konfuzius als Reformer.
This is a strikingly important contribution to the then necessary reform
debate which consciously links up with a traditional (proto-)reformism
and rationalism and which attempts, in Kang Yu-wei’s eyes, to reconstitute
and revitalize an essential ‘heritage’ buried under the rubble left by
generations oblivious to its relevance.
A material aspect of a modernization which at least in part drew
on China’s own strength ad traditions is the rise of a proto-industrial
textile industry, based on the ‘manufactory’ and ‘putting out system’ that
existed, for instance, in 16th and 17th century Suzhou. In the early 20th
century, these traditions form, in a certain sense, the Chinese roots or
basis of the new mechanized textile industry emerging which otherwise relies
on Western precedents, the dispersion of Western know how, on imported
machinery, and native as well as foreign markets.
Regarding Japan, we are well-advised to remember Max Weber’s reflections
on the proto-capitalist tendencies that made themselves felt in that country
even before the forced ‘opening’ by Commodore Perry. Cf. also the recent
suggestions regarding certain innovative processes during the Edo period
that Schwentker presented during the Breuninger Colloquium.
4. As far as the hypothesis of radical Westernization of non-western
(often colonial or semi-colonial) cultures is concerned, we discover a
strange alliance between Western ideologue defending the present-day hegemony
of the US and its junior partners in W. Europe and Japan, and the uncritical
representatives of Third World ‘elites’ enchanted by Western technology
and Western consumerism. Both are inclined to defend the exclusive
‘progressiveness’ and ‘validity’ of Western culture under the flag of a
supposed ‘universality’ of Western values. What lends their arguments
such much strength is the real presence and violent weight of Western cultural
penetration. But it is undeniable, at any rate, that the seductiveness
of images transporting the Western model of a ‘consumer society’ is so
much stronger than the promises of Western enlightenment, of humanity,
rationality, and fast technological progress. But even these latter promises
prove ambivalent if not mere ‘mirages.’ -
Pierre Bourdieu presently sees the politico-economic dynamics of out
time as ynonymous with a game that the West is winning. (Interview with
Pierre Bourdieu, in: Frankfurter Rundschau, Jan. 26, 1994, p. 7) What we
get is - in the words of Majed Nehmé - the attempt to unify
the world on the basis of market forces ("unifier le monde 'par et sur
la base du marche'") (Majed Nehmé, in: Afrique Asie, No. 34-35,
July-Aug., 1992, p.69) Therefore it is illusory to depart from the
opinion that an equality of ‘chances’ exist with regard to intercultural
exchange processes any more than in other areas where commodities are being
exchanged. (This seems true no matter whether we are looking at the
sphere of philosophy, the social sciences, literature, television, cinema,
theater, or painting).But existingly this lopsidedness of cultural
relations, under present conditions, makes the willingness to dutifully
embrace Western cultural models so fatal and so destructive. It has perhaps
never been more important to reflect on one’s ‘own’ needs, and become conscious
of one’s ‘own heritage,’ in order to have a somewhat better chance
to be an equal partner in the process of (necessary) intercultural exchange.
Everything else cwould be defeatism.
5. The renaissance und humanism mark the beginning, in Europe,
of what is called in Italy 'età moderna', in England the 'modern
age,' and in Germany 'Neuzeit'.
(Cf. R. Olson, Science Deified and Science Defied - The Historic Significance
of Science in Western Culture, London 1991; G. Ritter, Via antiqua und
via moderna auf den deutschen Universitäten des XV. Jahrhunderts,
Darmstadt 1975; Jakob Burkhardt, Die Kultur der Renaissance in Italien,
Leipzig 1913.)
6. Wallerstein has pointed out the link between the Spanish reconquista
and the emergence of the modern world system dominated by Europe. The 'early
Capitalist' tendencies which Pirenne, Tawney, and others noticed in Flanders
and Lombardy since the 13th and 14th century received a boost with the
European thrust overseas, and the emergence of pre-eminent Atlantic
seaport cities (Sevilla, Cadiz, Lisboa, La Rochelle, Bordeaux, Nantes,
Rouen, Amsterdam, London, Bristol, etc.).The boost that European commercial
capitalistist strata in these (then dominant) cities received from overseas
expansion, colonial trade, and in some cases, piracy, translated into a
new cultural assertiveness.
7. The renaissance as a European cultural phenomenon (with
specific forms or appearances, in different emerging national cultures
and even in different regions within the framework of these cultues) cannot
be regarded and understood separately from the urban development of the
economically and culturally most progressive regions, such as Northern
Italy and Flanders. It is a reflection of the relative emancipation of
commercial bourgeois urban strata, of the expansion and tentative modernization
of the urban productive bases (and its beginning spread to the conzryside);
it is also a reflection of emerging, inner-urban forms of conflict. The
importance of early capitalist beginnings as a factor influencing the cultural
developments known as the renaissance has been suggested repeatedly, thus
by Henri Pirenne and Henri Hauser. Especially the Weberian hypothesis
concerning the ‘Protestant ethics’ as a factor in the rise of Capitalism
(a well-known hypothesis that idealistically hypostasizes the fact that
the historical dynamics of an economic basis which prepared and
instigated the religious ‘reform’ movements in N. Italy, Germany, Flanders,
and the French Atlantic port cities, found itself in turn confronted
with the cultural impact of the ‘reformation’) gave rise to
important studies regarding the relationship between religion and early
Capitalist trends in Catholic Lombardy (thus by Tawney). Cf. also:
J.L. Romero, La revolucion burguesa en el mundo feudal, Buenos Aires 1967;
J. Lestocquoy, Aux origines de la bourgeoisie des villes de Flandre et
d'Italie sous le gouvernement des patriciens, XI-XVe siècle, Paris
1952)
7. It is to Litvinoff that we owe the arguments pointing to the historical
congruence
of the accomplished 'reconquista' (re-conquest of Arab, Maghrebinian, Southern
Spain) and the beginning of European modernity which have also been interpreted
as the beginnings of the world system (= the colonization, repression and
exploitation of Third World populations and the incipient ‘becoming real’
[Realwerden] of the world market). Cf. B. Litvinoff, 1492 - The Decline
of Medievalism and the Rise of the Modern Age, London 1991; with reference
to the category of the ‘world system’, cf. especially: I. Wallerstein,
The Modern World System, vol. 1: Capitalist Agriculture and The Origins
of the European World-Economy in the 16th Century, New York 1976
8. The publications on this ‘Classical modernity’ (which makes itself
felt both in literature and the arts, in the sphere of philosophy and in
that of the natural sciences) are to numerous to be listed here. Within
the hegemonial discourse of our times, no doubt an understanding of this
category has gained undisputed validity that equates the end of the 19th
century with the cultural transformation phase or break ushering in ‘modernity’,
modern literature, modern art, etc. While, in this way, the ‘modern’ beginnings
at the time of the renaissance are suppressed from historical consciusness,
it is at best the period of enlightenment, and of the French revolution
which can be tentatively encompassed (as forerunners, or forebodings) of
the modernist form of expression gaining dominance since 1900. In fact
this 20th century modernity arose from the crisis of the 1870s-1890s, the
‘Long Depression,’ it was fanned by the fin de siècle spirit, and
received a catastrophic boost by the brutalities of WWI that had to be
stomached.
9. It is wothwhile to mention here an interesting contribution
characterized by the attempt not to cut the link between immaterial cultural
phenomena and their material (social, politico-economic) frame of reference
(in the context of European socio-culture). We are talking here of an essay
by Helmuth Plessner, "Über die gesellschaftlichen Bedingungen der
modernen Malerei", in: H. Plessner, Gesammelte Schriften, Bd. X, Frankfurt/M.
1985, p.265-284.
10. The plain fact that politico-economic backwardness (as far as the
degree of capital accumulation and the development of ‘modern industry’
was concerned) is not synonymous with culturl backwardness, was presented
in the European context by several societies of the European periophery,
for instance Scandinavia, where Ibsen worked, and Russia, where Chekhov’s
works threw a critical light on social reality.
11. This reflection [Reflex] of material (social and politico-economic)
change is not always a belated one, an ‘answer’ to the questions posed
by historical reality. Especially in the field of philosophy it is fairly
obvious that the work of Nietzsche, for instance, which mirrored reality,
being an answer to Hegel, to late 19th century Marxism, and to the
babbit-like qualities of a Germany dreaming to rise to the position
of a imperialist power, anticipated also the crisis of modernity that became
apparent at the turn of the century.
The fact that the consciousness of a crisis rampant around 1900 is
not a singular phenomenon is sufficiently apparent if we consider that
the present-day turmoil of the ‘global economy’ and the shake-ups between
the political ‘fronts’ and ‘blocs’ lead many contemporaries to pose anew
questions regarding the character of ‘modernity’, or ‘modernism’,
as well as concerning the ‘nature of the crisis.’
For I. Ramonet this "chaotic modernity" ("cahoteuse modernité")
transforms "contemporary society" into an unsafe vessel on a storm-ridden
sea which it haphazardly traverses ("sans cap défini"). Exactly
this necessitates, according to Ramonet, wogt, "a profound
reflection on the crisis which [our society] passes through" ("une réflexion
profonde sur la nature de la crise qu'elle [sc. la société
contemporaine] traverse"). Cf. Ignacio Ramonet, "Le désarroi
des citoyens devant un savoir en miettes", in: Des sociétés
malades/De leur culture, special issue of Le Monde diplomatique,
série: Manière de voir 1, Paris 1994, p. 23)
The crisis of western societies appears, in the eyes of some of those
observing this from outside, like J.-L. Motchane, to put in question exactly
that rationality and that scientific spirit which (according to its auto-image)
are believed to centrally define hegemonial Western culture. Cf.:
J.-L. Motchane, "La science, barbarie de l'Occident?", in: Des sociétés
malades/De leur culture, Paris 1994; cf. also: Horkheimer/Adorno, Dialektik
der Aufklärung, Amsterdam 1955 (reprint of 1944 edition).
12. Regarding the surrealist movement see the well known publication
of Maurice Nadeau. An interesting glance as the New York and he Paris ‘milieus’
of the 1920s which gave rise to many important works of art of ‘Classical
modernism,’ is offered by: Kenneth W. Wheeler and Virginia Lee Lussier
(eds.), The Arts and the 1920s in Paris and New York, London 1982.
13.The term 'art nouveau' reflects the sense of living at the
beginning of a ‘new time’ that qute a few artists must have felt
by 1900: an intellectual and emotional need to ‘make things new,’ while
entering a new century.
14. If somebody eats beef, this doesn’t turn him into a cow. "Der Verzehr
von Rindfleisch verwandelt uns nicht 'automatisch' in Ochsen..." , this
is translated by H.-C. Buch/Wong May. Cf.: Lu Hsün, Der
Einsturz der Lei-feng Pagode. Essays über Literatur und Revolution
in China, ed.by H.-C. Buch and Wong May, Reinbek 1973, p.156.
The problem of intercultural interference ('Interferenz') has
been repeatedly discussed in various articles by Magdi Youssef.
Bernard Lewis implicitly refers to the problem of ‘interference’ underlying
intercultural relations, in his recently published article, "The
West and the Middle East", in: Foreign Affairs, Jan./Feb. 1997, p.114-130.
The sheer fact of mutual interaction between different sociocultures
(referred to as an interference process by M. Youssef) is alluded to when
B. Lewis states: "Western civilization (...) is enriched by the contributions
and influences of other cultures". (ibidem, p.130) In order to understand
the ongoing exchange (and thus reception) processes, it is necessary to
comprehend the active, transforming side of every reception, as M.
Youssef has pointed out. It is necessary that this active involvement of
the receiving side becomes a conscious, rational, autonomous, emancipated
process, guided by the recognized needs of the population in the receiving
society. Only in this way can cultural reception be enriching rather than
alienating.
15. This became a subject of lively debates in the 1930s, only to give
way subsequently to a new position rising to dominance: the concept of
the emphatically overemphasized ‘autonomy’ of the arts, coupled with the
idea that art works were free of ideology and artists, writers, in fact
all intellectuals had to be neutral, with regard to the most pressing issues
of their times. This was the beginning of a period which embraced the idea
of the superiority of a ‘private cosmos’ reflected in literature
and the arts, and - especially in panting - of strategies labeled as
‘abstract’ or ‘informel.’
16. The attempt to draw a line betweeb ‘uncritical’ and ‘critical’ innovation
is admittedly somewhat crude, if not schematic. What could be implied by
‘uncritical modernism’ is the abstract appropriation of dominant models,
paradigms, styles, and ideological premises of a hegemonial cultural establishment
within one’s own society, even in contrast to one’s own felt needs. It
is tantamount to a canonization (and acceptance of a canonization)
of an ‘established’ culture or ‘high culture’ (elite culture, some say)
that is not, in fact, disinterested or neutral, under present social
conditions, while making exactly such claims. This is especially fatal
if the paradigms, models, styles, and premises have been formulated first
of all in another, foreign socioculture and are uncritically received and
adopted.
The position, sometimes formulated today, that a hybrid "world culture"
could form, as if in a melting pot, a global culture which is not onesidedly
dominated by the West, and which would playfully integrate the most diverse
influences, is declared to be an unfounded hypothesis and a ‘fiction,’
by Pierre Bourdieu. If it were to form at all, this ‘unity’ [unified
culture, synthesized world culture] would not form harmonically;
it would be realized in and through cnflicts ("über und durch den
Konflikt verwirklicht"). What appears decisive to Bourdieu is that factual
contemporary conflict by way of which "cultural hegemonial powers
[kulturelle Hegemonialmaechte] ... enforce their image of the world with
the help of their cultural products", whereas "other groups
... are subjected to multiple domination: in the field of publishing/editing
[Herausgabe], dispersion [Verbreitung], and recognition [Auszeichnung]
of cultural products, as well as in the field of economic production."
(Our translation, MK/AW)
This dominant tendeny is more or less affirmatively supported by uncritical
modernists (as against champions of a critical modernist practice) in the
non-Western world.
Bourdieu, who is not content to merely analyze as objectively as possible
the rapport de forces , supplements his analysis by suggesting that
“authors should combine, not in order to immerge in a world culture but
to confront each other, to debate, and to take up the struggle against
the phenomena of domination. At first, in their own sphere, that of cultural
production.“["die Schriftsteller (sollten) sich zusammenschließen,
nicht um in der 'Weltkultur' aufzugehen, sondern um einander die Stirn
zu bieten, um zu diskutieren und um den Kampf gegen die Erscheinungsformen
von Beherrschung aufzunehmen. Zunächst in ihrem eigenen Bereich, dem
der 'kulturellen Produktion'."] (Interview with Pierre Bourdieu, in: Frankfurter
Rundschau, Jan. 26, 1994, p.7)
17. Today, as in the past, the fetishization of the proudly but naively
‘national’ [the borné and national, “des Borniert?Nationalen“] is
as problematic as the cretinism which renders us a prey to the avariciously
absorbed influences of the world market and of the shoddy (though culturally
hegemonial) wares it transports.
We are in need of sovereign individuals who succeed to productively
synthesize the truly humane contributions of their own (ancient and more
recent) heritage with the innovative and humane inventions of other sociocultures.without
losing sight of the potential and actual requirements of large populations
objectively in need of emancipation.
As far as China is concerned, this was the attitude and poetic practice
of Lu Xun; up to now he is providing us with a paradigm worth reflecting
on.
18. It may be irritating if Borges and Mahfuz (whose work is so very
different ad much more realistic) are compared. The point of comparison
is in fact the extent to which they remained focused on Europe and its
‘models.’
19. Perhaps what is true of the politico-economical sphere of ‘experience’
in South and Central America, is also true of its socio-cultural
production: “the aping modernization“ ["nachäffende Modernisierung"
(Eduardo Galeano)] "multiplies merely the deficiencies of the model.“
- Deficiencies (both economic, social, and culturally) which
today become apparent even in the centers (North America and Europe) with
ever increasing absurdity. (Eduardo Galeano, "Ihnen gleich sein?", in:
Winfried
Wolf/Eduardo Galeano, 500 Jahre Conquista. Köln 1992, p.177)
Insofar it is the task of the critical poets, novelists, and philosophers
to make contributios that are not merely copies of the literary and philosophical
fashions in North America and in Europe. This attempts characterized the
achievements of the best, from José Marti to the indigenist
authors of Perus (scathingly derided by Vargas Lllosa), from Raul Bastos
to Asturias. This is why Carlos Fuentes, after reminding us of the voices
of those in his native country "who demand the annihilation of the indiginous
population which is only so much dead weight, so that Mexico can become
a modern country", was posing the rhetorical question: “Wherein consists
a modern country? Does it consist in this: that certain values, dictated
by the ruling classes in other parts of the world, are being accepted?“
["Worin besteht ein modernes Land? Besteht es darin, daß gewisse,
von den herrschenden Klassen in anderen Teilen der Welt diktierte Werte
akzeptiert werden?"] ("Die kulturelle Mannigfaltigkeit bereichert ein Land"/Interview
with Carlos Fuentes, in: Frankfurter Rundschau, Mai 18, 1994, p.7)
20. This confrontation can result in an act of socio-cultural surrender;
but it can also set free energies and produce resistance.
This is exactly what is meant if Bourdieu suggests that the task of
writers and intellectuals in a given country respectively a given socio-culture
could be to enter in a peaceful agon with their colleagues from other countries:
a debate which confronts the humane values, the forms of experience and
expression produced by a given socio-culture in the past as well as today,
showing how they can contribute to the commonly shared struggle against
dependency and domination, and are actually reshaped and revitalized
and even combined with appropriate outside innovations, in this context.
21. Further above, this complex problem has been repeatedly dealt with.
A basic text, in this regard, is: Magdi Youssef, "Die sozio-kulturellen
Verflechtungen zwischen der arabischen Welt und dem Abendland in der Neuzeit",
in: Intercultural Studies, Yearbook of the International Association of
Intercultural Studies, Vol.1/1983, p.62-91; in addition, we refer to further
publications by M. Youssef, which focus on the analysis of intercultural
exchange processes. The category of ‘interference’ stresses the dialectical
aspect of socio cultural relations implying, on the one side, influence
exerted, and on the other, (active) reception.
22. Lu Xun and all the others who brought about ‘Chinese modernism’
(la modernité chinoise; die chinesische ‘Moderne’) reacted in their
specific way to the crisis of Chinese society at the beginning of the 1920s,
a crisis co-ignited by Western imperialism in the 19th and early 20th century
and by dominant social forces at home.
It is correct to say that in this context modern Western genre, like
the novel, the theater (as against the opera and similar forms of traditional
Chinese theatrical performance), the satire were adapted. However, there
exists already a narrative prose tradition before the influence of Western
novels could make itself felt, the xiao shuo genre, dating back to Buddhist
sacred narratives, secularized (without receiving recognition as a full-fledged
literary genre) in the 17th and 18th century. Here we find subject matters
and narrative patterns which were known to the modern Chinese prose authors
of the 1920s and 30s.
23. This Chinese ‘modernism’ of the 1920s, 30s, and 40s has been received
in the PR China as well as abroad whereas during much of the post-civil
war period, the reception process in Taiwan was at best marginal.
The fact that modern Chinese authors at the time were both representing
a ‘break’ with tradtion and a a ‘continuity’ that was able to bridge the
gap, is shown by V.I. Semanov. Semanov points to an interesting connection
between Lu Xun and a work of the 18th century, the ‘Scholar’s Forest’
['Gelehrtenwald'] written by Wu Jingzi. (V.I. Semanov, "Aufruf zum
Kampf (Nahan)/Lu Xuns Stellung in der chinesischen Tradition und Moderne",
in: W. Kubin (ed.), Moderne chinesische Literatur, Frankfurt/M. 1985, p.144)
Lu Xun links up with what are (his, or our, or their) "own"
[i.e. Chinese] strains and elements of tradition. He does so in a way somehow
similar to that of other, albeit traditional Chinese prose authors
of the early 20th century ["(ä)hnlich wie die traditionellen Prosaschriftsteller
des frühen 20. Jahrhunderts"] who also aimed at “finding heroes
in daily life and to depict truthfully the conditions of their lives in
their narratives“ ["seine Helden im täglichen Leben zu finden und
in seinen Erzählungen wahrheitsgetreue Lebensumstände zu schildern."
(ibidem, p.142)]. The element f realism in modern Chinese literature
is no mere Western import. By going back to subliterary genres and
subsuming them to strategies of Verfremdung (as Brecht called this technique
of ‘making’ the well-known look ‘strange’), by transforming the material
into literature and integrating it into a new context of philopsophical,
literary and aesthetic reflection, Lu Xun was breaking with the trivial
tendency that was inscibed in the older forms he was referring to or borrowing
from. (Ibidem, p. 141)
24. The fact that foreign influences were perceived very selectively
in Taiwan in the period under consideration, is a consequence of
the political and thus also cultural climate at the time.
25. Within the framework of this article, we do not want to further
discuss the question raised here. To deal with it would require a precise,
comparartive study. We hope, however, to encourage further research into
this matter. It would be useful to know to what extent not only European
and North American, but Chinese influences (represented by
modern, pre-war Chinese l’art pour l’art positions but obliged in
some way or other to pre-modern [Classical] Chinese poetry?) made themselves
felt in the modernist Chinese poetry of post-civil war Taiwan.
26. In the field of poetry it is above all Xu Zhimo, in prose
Lin Yutang who found recognition in several circles in post-civil war Taiwan.
These pre-war authors were not only tolerated but to some extent praised,
even though Neo-Cobfucians raised their eyebrows in view of the ‘erotic’
and ‘individualist’ attitudes which especially the poetry of the former
seemed to be guilty of.
27. Despite the (perhaps decisive) motivating impulse which was owed
to a poet like Ji Xuan (somebody who had to be counted as a member of
the generation of pre-war poets), the bohemian-like attitude of the Xiandaipai
poets appears rather as an express of the (new; in fact, renewed)
‘opening up to the West.’ As far as the consciousness of the
young generation is concerned, the threat that ought to connect it
with pre-war poetry had been - more or less - broken. By the mid-
or late 1970s efforts increased to connect again with that part of the
past.
The dissident tendencies of the 70s that expressed themselves in prose
fiction in the form of xantu xenxue narratives, surfaced now in a new,
committed kind of poetry, represented by poets like Bo Yang whose work
has, in part, been translated into English. Another interesting poet with
a dissident’s fighting spirit has been translated into German: Pai Ch’iu,
Feuer auf Taiwan. Gedichte. Transl. by Liang Ching-feng and Karlhans Frank,
Pforzheim 1974.
28 The term xiandai (modern) in the title appears like a programmatic,
even though not very explicit reference to the intended ‘opening up to
the West:’ it announces the strong diffusion of US- and West European
literature that the journal sought to achieve, and in fact achieved. The
texts presented no doubt were meant to have the function of ‘models.’
Wolf Baus points to Lee Ou-fan’s high esteem for
'Xiandai wenxue': “It is to this journal that we owe the discovery and
appreciation of modernism in China.“ ["Dieser Zeitschrift allein seien
Entdeckung und Bewertung des Modernismus in China zu verdanken."]
(W. Baus, "Literatur und Literaturpolitik in Taiwan", in: Helmut Martin/Charlotte
Dunsing/Wolf Baus (eds.), Blick übers Meer. Chinesische Erzählungen
aus Taiwan, Frankfurt/M. 1982, p.27)
29. Informal influences on official cultural policy were exerted
also by the Catholic church. For instance, paedagogical experts of the
Steiler Mission worked in the Ministry of Education. The church also ran
a private Catholic university (Fujen University). When one of the authors
of this article was enrolled in the M.A. program at Fujen University, she
showed a translation she had completed of Horvath’s novel Youth without
God, to one of the padres. He advised her immediately not to publish it.
It wasn’t healthy literature. (In fact, it dealt with the psychological
and social effects of a dictatorship [Nazi Germany] on the mind and soul
of young students and their non-conformist teacher. Parallel developments
and experiences in Taiwan were making the book ‘hot stuff’ and possibly
explosive in the 1970s.)
30.This anti-traditional element is perhaps the most progressive
trait of the modernist movement in Taiwan. Most of the important authors
of the 30s and 40s in China were anti-traditionalist, too.
The prominence of the ‘artificial language’ of some modernists,
such as Qidengsheng, appears as especially significant.
The literary representatives of the May 4th movement, on the other
hand, had opted by and large for a strategy that underscored their aim
of producing pointedly provocative texts. They wanted to be perceived and,
more importantly, understood by the masses. This was one of the reasons
why they discarded wenyenwen (even though occasional fragments of this
classical, literary idiom could be seen as now and then necessary).
31. Similar to Qidengsheng’s father, all teachers unable to teach
in guoyu lost their job after the liberation. In the colonial era, local
or regional dialects (especially Taiwanese [taiyu], and Hakka [kejiahua])
were spoken at home, in the fields, and in the market place while the official
language before the occupation, guoyu, hade been replaced by Japanese.
32. Here we refer to the correspondence of one of the authors of this
article, Kuo Ming-fong, with Quidengsheng [Prof. Kuo who taught German
literature at Fujen University in Taipei and more recently, at Tamkang
University in Tamsui, Taiwan, China, prior to her premature death, always
took a strong interest in Chinese as well as Comparative Literature.
For a period of five years, she stayed as a guest professor of Chinese
language and literature at the University of Ulm, Germany, on the invitation
of the Humboldt Foundation.]
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