Body writing in Hao Yu-hsiang''s novels

• Main Authors: MENG-CHEN HSIEN, 謝孟珍
• Other Authors: 楊翠
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/36325853391018784431

碩士 === 國立中興大學 === 台灣文學研究所 === 98 === This study is entitled “Body writing in Hao Yu-hsiang’s novels”, which adopts the theory of French feminism to discuss texts in Hao Yu-hsiang’s novels. Firstly, this study constructs Hao Yu-hsiang’s life images with the “homeland” concept. Then, this study discusses two homelands in Hao Yu-hsiang’s life, which have an effect on his creativity. Through writing books to recall his father’s homeland in Shan Dong and to have a talk with his growth memory in Taipei are important returns for Hao Yu-hsiang to look for herself. Writing books is Hao Yu-hsiang’s belief. By way of writing books, she believes that she owns the right to explain life and understands the meaning of life. Only by way of writing books, she can deeply exam herself and rescue herself from life. As to writing style, escaping from constraints of literature prizes, Hao Yu-hsiang’s writing contents become more varied and creative. Gradually, she finds her own way in literature. Under paternalism circumstances, the conventional fate of a female body is not only controlled by her family but also surrounded by her own frame. Hao Yu-hsiang tries to use escapes of female bodies in different generations to describe development processes of feminism in order to find out solutions for the conventional fate of a female body. Nevertheless, paternalist staring not only plays a female body but also limits her sexual images. Thus, a female body would have no chance to escape from straits of men’s staring. Hao Yu-hsiang’s novels focus on female sexual descriptions to outline the feminism. Breasts are distinct organs of a female body, which are deeply impeded by the paternalism. They also affect female value and self-awareness. The reject phenomenon of uteruses shows that women resist being mothers in paternalist cultures. Furthermore, senses of Hao Yu-hsiang’s writing show complicated faces. The sense in sexual descriptions is rather open. On the contrary, the sense is paternalist in writing men’s big stories. In his sense writing, Hao Yu-hsiang exaggerates differences between the physiological layer and the cultural layer. Hao Yu-hsiang creates multiple viewpoints in the domain of female writing by putting female bodies in cultural circumstances and by reflecting female fates in paternalist structures.