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|Other Titles:||I Portray Myself; Therefore I Am: Focusing on Shih Shu-ching’s Liang ge Fulieda Kaluo (Frida Kahlo)|
Department of Taiwan Culture, Languages, and Literature, NTNU
The self-portraits of the modernist artists carry the examination of their own, which is also the main concern of aesthetics: subjectivity. In Shih Shu-ching’s “The Barren Years” (1970), the narrator writes “landscape in childhood nightmare” after seeing Edvard Munch’s self-portrait. Similarly, the Mexican female painter in Liang ge Fulieda Kaluo (Frida Kahlo) (2001) pursues to portray herself with efforts throughout her life. Shih Shu-ching presents examination and portray of the inner spirit in her novels. Through the grotesque and ghostly theme indicated by David Der-wei Wang, the novels are connected with the modernist tendency of heresy, and often reveal the crisis of a split subjectivity, just like the painter’s self-portrait. This paper attempts to look at the self-representation and looking-and-being-looked relationship between subject and object from the artistic point of view of crossing. Besides focusing on Liang ge Fulieda Kaluo (Frida Kahlo), it discusses another “travel novel” Chumo (Exorcism) (2005), which, as a piece of art, also situates between the fabrication and the truth. For Shih Shu-ching who is also an art critic, how do these carvings and paintings enter the field of literature? And how does the crossing of art possibly provide a new way of rethinking novels? More importantly, how does the issue of subjectivity of modernists proceed within the novelist’s complex form of seeing and writing?
|Appears in Collections:||台灣學誌|
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