| 英文摘要 |
Among many Taiwanese poets, Yu Kwang-chung has drawn specialattention from the worldwide Chinese readers for his national consciousnessand nostalgia poetry. Based on Stuart Hall’s theory about cultural identity,this paper attempts to historize Yu’s cultural identity, arguing that only afterhis journey to America in 1958 did he start to formulate a nostalgic turn inhis poetry writing. Under the influence of Romanticism, Yu’s early poetryexpresses a yielding for freedom, adventure, and the infinite and never viewsthe state of exile or out of place as a painful and remorseful experience. Butas soon as he encountered the other’s discriminating gaze in the UnitedStates, he could not help but recollect collective cultural memories andconceive himself as a Chinese exile. Thus his nostalgia poetry, written duringthe stay in America, demonstrates a narrative pattern, always starting fromthe scenery at the present to the hometown in the past. Here and there, thepresent and the past coexist and penetrate each other and then constitute acontrapuntal structure and two-centered frame of reference for interpretingthe new experiences. This paper then argues that writing nostalgia poetryis not only a necessity for expressing one’s longing for the country andhometown, but also a surviving strategy for articulating the triangle relation of hometown, alien land and one’s self-identity. Writing self-identity thereforesignifies a commitment and a decision, a commitment to the country of theorigin and a decision to refuse the lure of the new home. Ultimately, to be anexile and to write about one’s nostalgia are reciprocal and interdependent. |
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