Description
Global Time-Space Reorderings: Literary Cultural and Cinematic Transformations
Global Time-Space Reorderings: Literary, Cultural, and Cinematic Transformations transnationally explores the impact of globalization on the reconceptualization of time and space in modern and contemporary literature, culture, and cinema. Yi-Hsuan Tso’s examination includes the novel Magical Mountain by the Nobel Literature Laureate Gao Xingjian, the Taiwanese Canadian poet Lo Fu’s epic Driftwood, the work of Taiwanese woman poet Hsia Yü, the Taiwanese documentary Let It Be, and third wave feminism in Taiwan. The book maintains that there are at least three axes of global time-space reordering. The first axis is the possibility of escape and freedom in time-space. In Magical Mountain, the escape from civilization is facilitated by the utopian nature with which a person communicates spiritually. Likewise, in Lo Fu’s Driftwood, the self gains freedom through the transcendence of local, local-global, and global time-space. The second axis is a translocal consciousness exemplified by the double-center globally migrating identity in Lo Fu’s Driftwood, the local, regional, and global entanglements in Taiwanese third wave feminism, and the acentric poetics of Hsia Yü. The third axis is the debate in Let It Be over whether to sustain the local-global economic interconnection or to lessen this interconnectivity confronting the spaces smoothed out by capitalism’s laissez faire policy.
Acknowledgments
Chapter 1 Introduction
Chapter 2 Nature as Refuge in the Globalized World: The Form of Gao Xingjian’s Magical Mountain
The Pneumatic Nature
Nature as Refuge in a Globalized World
Chapter 3 Globalization or Diaspora? Lo Fu’s Global Poetry
Globalization and Literature
The Transcendence of Time and Space
Migration vs. Diaspora, and the Global or the Regional?
Global Aesthetic
Conclusion: Space, Time, and Double-center Globally Migrating Self
Chapter 4 Globalization and the Taiwanese Character: Let It Be and the Documentary
Introduction
The Taiwanese Character and Cinema
Six Attributes of the Taiwanese Character
The Documentary Audience’s Emotions and the Self-Reflexive Style
Conclusion: The Omnibus Film Theory
Chapter 5 Globalization, Third Wave Taiwanese Feminism, and Hsia Yü’s Poetry
Introduction
This Wave: Recognition and Diversity
Girls Are Not Women
The Globalized Family
Violence of the Nation-State and Intimate Others
Invisible Women and Girls
Global Agendas Elsewhere
Global Time-Space, the Self, and Third Wave Womanness in Hsia Yü’s Poetry
Conclusion
Chapter 6 Conclusion
Notes
Works Cited
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