Marginality in Yu Kwang-Chung's poetry = ??????????
Abstract of thesis entitled
Marginality in Yu Kwang-Chung's Poetry
Chan Su Pin
for the Degree of Doctor of Philosophy
Department of Chinese
at the University of Hong Kong
in May 2003
This thesis is a study of the poems of an eminent writer Yu Kwang-Chung (1928-) from the perspective of marginality. Yu has produced to this date eighteen collections of poetry, the Sailor? Sad Songs (1952) being the very first one, and A High Window Over Looking the Sea (2000) the last. This thesis consists of seven parts. The introduction explains the concept of ?arginality? and reviews Yu? literary experience and the relevant literature on the subject. The concept of marginality used here is based on the cultural criticism represented by Gayatri C. Spivak., Michel Foulcault, Julia Kristeva and Stuart Hall.
Chapter two explores the de-construction and re-construction of ?ome,?and the meaning of ?piritual home?in Yu? poetry. Chapter three focuses on space and cultural identity. How does Yu, in his multiple traversals in the U.S., Hong Kong and Taiwan, construct a dialogic encounter between subjectivity and the ?ther? What are the implicit meanings of the ?ther? How does the self define itself through the ?ther? Chapter four is on the semiotic representation of ?hina,?and how Yu?
poetry represents ?hina?at the various levels of geography, gender, culture, myth and history. It discusses also the meaning revealed between marginal representation and de-construction. The fifth chapter analyzes the east-west inter-text of the anthology of Associations of the Lotus (1964), The White Jade Bitter Gourd (1974) and Gone with the Xiang River (1979). The sixth chapter explores the self-revelation of the marginalized ?how the poet molds the meaning of the self through classical Chinese literature and Western Canon.
The thesis in sum attempts to deal with three major points about Yu? poetic works: 1. From the point of nationalism and identity, the marginality of Yu? poetry concretely reveals the survival difficulties of 20th century Chinese intellectuals. Cultural identity is a matter of becoming as well as of being. These two identities eventually gather on a communicable, existing motherland. 2. From the point of aesthetics, Yu? representation of ?hina?is in essence a collective symbol of culture, a cultural imagination and a reconstruction of ?hina?that is absent. 3. From the point of literature, the influence of Chinese classics and 19th century Romanticism in Yu? poetry is a marginal reference; the ultimate value of Yu? poetry is in re-constructing literary subjectivity amidst two traditions and constructing a new model for Chinese literature.
School:The University of Hong Kong
School Location:China - Hong Kong SAR
Source Type:Master's Thesis
Keywords:yu guangzhong 1928 criticism and interpretation
Date of Publication:01/01/2003