342:, was different from the Taiwanese vernacular which was widely used in Taiwan in those days. Modern Chinese, like Japanese, stayed as a language used in the small intellectual circle. Insisting on using modern Chinese to write could not attain the expected result of synchronizing writing with speaking (文言一致) like it did in mainland China. In other words, modern Chinese could not penetrate into the masses and fulfil its mission of the dissemination of culture. Guo in his essay illustrated the fact that Japanese, classical and modern Chinese were all difficult to be popularized among the masses, and responded the Huang’s stand by suggesting promoting the use of Taiwanese vernacular in order to eradicate illiteracy and disperse culture. Guo also proposed to subjugate writing to speaking (屈文就話). He started a special column called ‘Taiwanese vernacular attempt’ (台湾話文嘗試欄), where he created many new ‘Chinese’ characters to match those words specifically used in the Taiwanese vernacular. He proved that it was feasible to write in Taiwanese vernacular. In summary, in the polemics, nativism advocates contended that firstly, nativist literature should be written in Taiwanese vernacular and secondly, authors should reflect the reality of Taiwan in their works and highlight the existence of the nativity of Taiwan.
273:(連温卿) who underlined the importance to study and utilize Taiwan vernacular since it was the most popularized language in Taiwan. In 1925, Huang Chengcong (黄呈聰) in his essay ‘We should establish a particular Taiwanese culture’ (应该著创设台湾特种的文化) argued that although Taiwan shared the same bloodline with China in aspects like race, society, culture and custom, the unique geography and environment of Taiwan had cultivated a particularity in its own culture in its 200-year history; and especially after it was ceded to Japan, Taiwan was different from China in its society and culture under the Japanese rule; all these experiences had made the native-ity (本土性) of Taiwan easily perceptible. Huang suggested that considering this native-ity, Taiwan should not totally and uncritically accept Chinese culture (like the May Fourth Literature model), but adapt the imported culture according to the native reality and so establish a particular Taiwanese culture.
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236:(蔣渭水) et al. founded the Taiwan Culture Association (台湾文化协会) in Taiwan in 1921, which was the prelude of the anti-colonial and national emancipatory movements there. The Association shared the same anti-imperialist spirit with the May Fourth Movement in China. The literature movement was brought into Taiwan as a tool to exercise cultural enlightenment, increase education standards and to awaken the public to stand up against the colonial authority.
256:. Second, as being positioned as a branch of Chinese literature, the Movement aimed at liberating Taiwan from Japanese colonizers with an intention to return to China. It followed the anti-imperialist and anti-feudalist realistic style of the May Fourth literature. Here, the use of modern Chinese against the then official language of Taiwan—Japanese also played an important role to support the advocates’ Chinese identity.
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culturally
Taiwanese would hinder the cultural exchange between China and Taiwan. They insisted that Taiwan was part of China and it was not necessary to start a Taiwan nativist literature. Some opponents even saw Taiwanese vernacular as a primitive and crude language, so it was not good enough to be used in literature. Most of the opponents insisted in using modern Chinese. The opponents included Liao Yuwen, Lin Kefu,
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Furthermore, by
February 1931, almost all the anti-Japanese organizations in Taiwan had been dissolved. More intellectuals turned to the literature movement, which was less annoying to the Japanese. The Taiwan New Literature movement reached its heyday, and the nativism in literature also started to rise.
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In the late stage of the
Japanese colonization, there were a lot of literary works written in Japanese by Taiwanese authors coming into existence. This generation of authors did not have bilingual background as did their predecessors. Japanese was the only literal medium through which they understood
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However, the ultimate goal of the Taiwan New
Literature movement was not to preserve Chinese language, culture or literature, but to awaken the Taiwanese public and to liberate Taiwan. The colonial Taiwan had a different situation than mainland China regarding to its colonial policy, social awareness
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which saw the toiling masses as the main audience of literary creations. Huang insisted that only by using
Taiwanese vernacular to write could literature penetrate into the masses and have influence on them. He also contended that Taiwan is the home of Taiwanese writers, so they should treat Taiwan
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ordered a crackdown on the workers’ and peasants’ movements in China. That the
Chinese anti-imperialist movement reached a deadlock disappointed the Taiwanese intellectuals. Meanwhile, the Japanese authority tightened the colonial policy which cut off the connection and support from mainland China.
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who risked his life to write ‘The Orphan of Asia’ (亞細亞孤兒), recording the stories of
Taiwanese people and sustaining the resistant spirit. After the defeat of Japan in August 1945, the then mainland-based Chinese nationalist KMT, under Chiang Kai-Shek, seized the island with the aim of re-uniting
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On the contrary, the opponents in the polemics who did not think literature should be written in
Taiwanese vernacular argued that Taiwan and China should stay in one perspective; literary works written in Taiwanese vernacular lacked universality across China; and being too linguistically and
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the world and expressed their opinions. Thus, the
Taiwanese vernacular polemic had lost its symbolic meaning to them. However, though they had to write in Japanese, they preserved very strong Taiwanese ideology and native-ity in their works. In April 1937, the
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Under the colonial modernization in Taiwan, through colonial education, study in Japan and mainland China, Taiwan’s first generation intellectuals were informed of modern politics, society, culture and ideas of the West. They embraced concepts such as national
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as its main narrative to depict people, events and subjects that happen in Taiwan, aiming at reflecting the particularity of the local society. The nativist novels usually depict the struggles for existence and predicaments of identity of the
73:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge.
391:(《福爾摩沙》) magazine. In October 1933, Guo Qiusen, Liao Hanchen, Huang Deshi, Wang Shilang, Chen Junyu, Lin Kefu (郭秋生，廖漢臣，黄得時，王詩琅，陳君玉，林克夫) et al. founded the Taiwan Literature Association (台湾文藝协会) in Taipei, and published the
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newspaper (《伍人報》), gaining some debate. In the next year, Huang and Guo Qiusen published essays ‘Talk about nativist literature again’ (再谈乡土文学) and ‘A proposal to develop
Taiwanese vernacular’ (建設‘台湾話文’一提案) respectively in
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From 1926 to 1937, literary publications and arts societies gradually sprang up in Taiwan. Most of them had anti-Japanese sentiments, and aimed at encouraging patriotism among the Taiwanese public. In 1927, Chen Manying,
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The Taiwan New Literature movement incorporated the May Fourth Literature model, engaging with language reform and literary realism. First, it tried to synchronize speaking with writing (言文合一) by promoting the use of
252:(張我軍) was one of the main advocates who positioned Taiwan literature as a branch of Chinese literature, tried to bring in more Chinese elements into Taiwan literature, and wanted to use modern Chinese to reform the
309:(葉石濤), the Polemics showed that the object of the Taiwan New Literature reform had moved from forms into contents, and Taiwan literature began to move towards independence from the Chinese New Literature Movement.
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movement in China. Since the 1920s, Taiwanese intellectuals had moved away from violent resistance into organized and non-violent, cultural, political and social struggles against the Japanese government.
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were dismissed. Taiwanese authors lost their autonomy in writing. The following literary works were mostly done in order to meet the need of the Japanese invasions. However, there were still authors like
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and its public as the focal points in their literature. A colonial fact about Taiwan was that the official language was Japanese; modern Chinese could not be taught in the education system. Furthermore,
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The active Taiwanese authors during this period included Lai He, Zhang Wojun, Yang Yunping, Yang Shouyu (楊守愚), Cai Choudong (蔡愁洞), Zhu Dianren, Xu Gu (虛谷), Guo Qiusen, Yang Hua (楊華), Wang Shilang,
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and natural environment etc. Hence, that whether the May Fourth model was completely suitable for Taiwan was under challenge. Soon as the Movement started in 1920, there were intellectuals like
170:
in the 1920s. The movement died down after 1937 when the Japanese government strengthened its colonial policy, but regained public attention in the 1970s. Taiwan nativist literature uses
248:(文言文). The use of modern Chinese could help increase the general literacy and keep connection with mainland China, and it symbolized the erection of the New and the abandon of the Old.
305:, launched the Nativist Literature Polemic (鄉土文學論戰) and the Taiwanese Vernacular Polemic (台灣話文論戰), which marked the full bloom of the Taiwan New Literature movement. According to
399:(《第一線》). In 1934, the Taiwan Arts Society and the Taiwan Literature Association amalgamated into the Taiwan Literature and Arts League (台湾文藝聯盟), and the League published the
506:(台湾文学), edited by Lin Shuzhen, Lin Wenbao, Lin Suwen, Zhou Qinhua, Zhang Tangqi, and Chen Xinyuan (林文寶, 林淑貞, 林素紋, 周慶華, 張堂錡, 陳信元). Chap. 1. Taipei: Wan Juan Lou (萬卷樓), 2001.
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After the period of suppression, another literary movement arose in the 1970s and 1980s, seeking to establish recognition of a distinctly Taiwanese body of literature. The
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in order to replace Taiwanese culture and suppress the nationalism of Taiwanese people. In 1941, Zhang Wenhuan, Wang Jingquan (王井泉), Huang Deshi et al. left the
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See Lin Shuzhen, "The Demarcation and Genre Variation of Taiwanese Literature" and Lin Ruiming, "The Taiwanese New Literature Movement under the Japanese Rule."
350:(廖毓文，林克夫，朱點人) and so on. Nevertheless, despite the difference, opponents and advocates of nativism shared the same standpoints of anti-Japanese colonization.
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Lin Ruiming (林瑞明)."The Taiwanese New Literature Movement under the Japanese Rule: Literary Communities and Their Spirit (日本统治下的台湾新文学运动：文学结社及其精神)." In
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
586:
See You, "The Birth of Nativism in Taiwanese Literature," and Lin Ruiming, "The Taiwanese New Literature Movement under the Japanese Rule."
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326:(《台湾新聞》), triggering a large-scale debate on whether it was feasible to use Taiwanese vernacular in writing Taiwan nativist literature.
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453:(《文艺台湾》) magazine which was controlled by Nishikawa Mitsuru (西川満) and organized the Qi Wen Society (启文社), and they published the
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and Chen Shaoxin (陈满盈，赖和，陈绍馨) founded the New Student Study Society (新生学会), while overseas students in Japan, Xu Naichang,
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457:(《台湾文学》) magazine for eleven volumes. In November 1943, Nishikawa announced the prohibition of association. Both the
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Content in this edit is translated from the existing Chinese Knowledge article at ]; see its history for attribution.
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magazine, and founded the Taiwan New Literature Society (台湾新文学社) with Ye Tao (葉陶) and his wife. They published the
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387:, Shi Xuexi (張文環，巫永福，王白淵，劉捷，蘇維熊，施學習) et al. founded the Taiwan Arts Society (台湾藝術研究会) in Tokyo, and published the
158:). Xiangtu (鄉土), literally meaning the hometown soil, symbolizes nativism; and Wenxue (文學) is literature. It is a
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In 1930, Huang Shihui published the essay ‘Why not promote Taiwan nativist literature’ (怎麼不提倡台灣鄉土文學) in the
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Taiwan with rest of China, and any assertion of local Taiwanese difference from China was suppressed.
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Lin Shuzhen (林淑貞). "The Demarcation and Genre Variation of Taiwanese Literature (台湾文学的界定与流变)." In
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forbade the use of Chinese. Chinese writers nearly had to stop working completely. In July, the
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568:(台湾文学的本土观察), edited by Li Yihui (李怡慧). Chap. 1. Taipei: Yun Chen Wen Hua (允晨文化), 1996.
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You Shengguan (游胜冠). "The Birth of Nativism in Taiwanese Literature (台湾文学本土论的发轫)." In
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tone. They tend to base on the life experiences of their authors, and reflect their
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228:(蔡惠如) et al. founded the Xin Min Society (新民会) in Tokyo in January and published
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to the source of your translation. A model attribution edit summary is
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375:(《南音》) magazine. In March 1933, overseas students Zhang Wenhuan,
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The Rise and the Development of Nativism in Taiwanese Literature
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derived from the New Literature Movement (台灣新文學運動) under the
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began. In September, the colonial authority imposed the
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552:(台湾文学本土论的兴起与发展). Chap. 2. Taipei: Qian Wei (前卫), 1996.
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expanded into democratization of the 1980s and 1990s.
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517:"Taiwan Nativist Literature."
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234:Jiang Weishui/Chiang Wei-shui
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515:Weng Shengfeng (翁聖峰).
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