tag:blogger.com,1999:blog-91660922369648677682024-03-13T15:57:47.502-07:00The Li Ang ArchiveIn her more than forty-year writing career, Li Ang has continued to dig out more space for discourse for women writers, and many of her novels have been translated into many languages. Her determination and efforts for literature not only has carved out a space for Taiwanese literature in the international literary scene, but also exerts considerable influence within the country and overseas. the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comBlogger41125tag:blogger.com,1999:blog-9166092236964867768.post-81137530445289685142023-07-25T22:41:00.003-07:002023-07-27T19:06:16.651-07:00PREFACE — The Butcher's Wife<div class="MsoNormal" style="text-align: center;"><span face=""新細明體","serif"" style="font-size: 20pt; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-bidi-font-size: 24.0pt; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><b><i>The Butcher's Wife</i></b></span></div><div class="MsoNormal" style="text-align: center;"><br /></div><div class="MsoNormal" style="text-align: center;"><span lang="EN-US" style="font-size: 20pt; mso-bidi-font-size: 24.0pt;"><b>PREFACE</b><o:p></o:p></span></div><div class="MsoNormal"><br /></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-size: 20pt; mso-bidi-font-size: 24.0pt;"> After receiving my M.A. degree from an American university in 1977, I decided to see some of the country before returning to Taiwan, so I traveled around the United States for the better part of a year. It was during that time, at the California home of a friend, that I happened upon a book in which a news item about the sensational murder of a man by his wife in Shanghai in the 1930s had been reprinted.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br /></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-size: 20pt; mso-bidi-font-size: 24.0pt;"> What drew me to this particular story of husband killing was the fact that it was not just another case of adultery. In traditional Chinese society, any woman who kills her husband is presumed to have done so because of an extramarital affair; there could be no reason for committing the heinous crime of killing her own husband other than the desire to be with her lover. This demeaning attitude toward the moral character of women has been held by Chinese for thousands of years: any woman guilty of killing her husband is a promiscuous woman, and no other interpretation is possible.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br /></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-size: 20pt; mso-bidi-font-size: 24.0pt;"> But in this particular sensational case from Shanghai in the 1930s, the accused murderess insisted that she had killed her husband only to escape his abuses and that she was innocent of any extramarital involvements; the prosecution was unable to prove the existence of a “lover.” Thus, instead of being just another in a long line of women labeled promiscuous by society, the husband-killer in this case was a woman who had suffered the oppression of traditional society.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br /></div><div class="MsoNormal" style="text-align: justify;"><span lang="EN-US" style="font-size: 20pt; mso-bidi-font-size: 24.0pt;"> I wanted to use this item as the basis of a story, but since I knew virtually nothing about Shanghai, I abandoned my plans. It wasn’t until several years later, after I had returned to Taiwan, that I decided to move the setting of the story to my hometown of Lugang, a small seacoast town in central Taiwan that had once been the island’s second largest city but was now just another small town that retained the flavor of “old Taiwan.” And so, the basic elements of a sensational murder case that had actually occurred in Shanghai were transported to Taiwan and transformed into a story of old Taiwanese society.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br /></div><div class="MsoNormal" style="mso-char-indent-count: 1.0; text-align: justify; text-indent: 20pt;"><span lang="EN-US" style="font-size: 20pt; mso-bidi-font-size: 24.0pt;">I cannot deny that I approached the writing of <i>The Butcher’s<o:p></o:p></i></span></div><div class="MsoNormal" style="text-align: justify;"><i><span lang="EN-US" style="font-size: 20pt; mso-bidi-font-size: 24.0pt;">Wife</span></i><span lang="EN-US" style="font-size: 20pt; mso-bidi-font-size: 24.0pt;"> with a number of feminist ideals, wanting to show the tragic fate that awaited the economically dependent Taiwanese women living under the rules of traditional Chinese society. But as I wrote, I found myself becoming more and more concerned with larger issues of humanity, such as hunger, death, sex. What I want to emphasize here is that the ultimate concern of a piece of “feminist literature” is, after all, human nature.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br /></div><div class="MsoNormal" style="mso-char-indent-count: 1.0; text-align: justify; text-indent: 20pt;"><span lang="EN-US" style="font-size: 20pt; mso-bidi-font-size: 24.0pt;">In writing <i>The Butcher’s Wife</i> I owe the greatest debt of gratitude to my hometown of Lugang; were it not for the many special charms of that place, this story would never have been written.<o:p></o:p></span></div><div class="MsoNormal" style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div class="MsoNormal" style="mso-char-indent-count: 1.0; text-align: justify; text-indent: 20pt;"><span lang="EN-US" style="font-size: 20pt; mso-bidi-font-size: 24.0pt;">Naturally, I want also to thank the translators, who have made this work available to a new group of readers.<o:p></o:p></span></div><div class="MsoNormal" style="mso-char-indent-count: 1.0; text-align: justify; text-indent: 20pt;"><span lang="EN-US" style="font-size: 20pt; mso-bidi-font-size: 24.0pt;"><br /></span></div>the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-10869368762841636212020-11-21T08:09:00.001-08:002021-11-21T08:09:58.440-08:00密室殺人<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWMLz1M3_j_GwUEoVceK3NDwSTX7QnWGA4hRkeCaiFZZ4G7iiHc8bT1bR0fW5HSTW262wkELecYzttLAaP-Oe4B6NyaB-X5DZ6rSu2ub5d2KFqZJUQmx9rYAtET_qFkWIXlORt4OHoSJVe/s316/%25E5%259C%2596%25E7%2589%25872.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="221" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWMLz1M3_j_GwUEoVceK3NDwSTX7QnWGA4hRkeCaiFZZ4G7iiHc8bT1bR0fW5HSTW262wkELecYzttLAaP-Oe4B6NyaB-X5DZ6rSu2ub5d2KFqZJUQmx9rYAtET_qFkWIXlORt4OHoSJVe/s0/%25E5%259C%2596%25E7%2589%25872.jpg" width="221" /></a></div><div class="separator" style="clear: both; text-align: center;">(台北:有鹿文化,2020)</div><div><br /></div>the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-33686105852313784322017-10-03T16:36:00.000-07:002017-11-12T16:39:11.324-08:00Sleeping Pan<div class="separator" style="clear: both; text-align: center;">
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<b><i>Sleeping Pan</i> (Taipei: Route Culture Co. Ltd., 2017)</b></div>
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《睡美男》(台北:有鹿文化,2017)</div>
<br />the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-76650115981372269282016-11-21T08:05:00.000-08:002021-11-21T08:07:47.243-08:00在威尼斯遇見伯爵:李昂的極致美食之旅<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2E_uS3BVMpy_hvLdxQVwX3Ic3lHeSHJDxsAhaUxaZdLvjPJL7NdPLSZFSCDLrMeFvrial_dPQLwYLlOThgRvlivRF-KVhnATWjWzhEAsVICwvVD5VYgcZ6DS0TFOy-i-qQADpUuLTcbly/s265/%25E5%259C%2596%25E7%2589%25871.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="265" data-original-width="265" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2E_uS3BVMpy_hvLdxQVwX3Ic3lHeSHJDxsAhaUxaZdLvjPJL7NdPLSZFSCDLrMeFvrial_dPQLwYLlOThgRvlivRF-KVhnATWjWzhEAsVICwvVD5VYgcZ6DS0TFOy-i-qQADpUuLTcbly/s0/%25E5%259C%2596%25E7%2589%25871.jpg" width="265" /></a></div><div class="separator" style="clear: both; text-align: center;">(台北:有鹿文化,2016)</div><div><br /></div>the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-43191065574343739422014-10-28T19:23:00.002-07:002015-02-08T22:06:34.302-08:00Li Ang's Exclusive Chiayi Cuisines<div class="separator" style="clear: both; text-align: center;">
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<b><i>Li Ang's Exclusive Chiayi Cuisines</i> (Chiayi City: Cultural Affairs Bureau of Chiayi City, 2014)</b></div>
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《李昂的獨嘉美食》(嘉義市:嘉義市文化局,2014)</div>
<br />the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-15218108885993210722014-04-21T06:55:00.003-07:002015-01-26T23:38:27.081-08:00Everyone Takes A Bite out of Roadside Sugarcanes<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV7qGzoraqLnejjOZHO0DBsKYrGHLY7-r5A3m5qgFGyFuoWgPrxJPl1TgdMA0QeIBUHKA2XQ5MWNQ1YwZIGN_f1cXs5vL2uwdkcj30L8ZnrM1POjBeW7_oJwYMDOBtTcvu75ECtwtx3j6K/s1600/24%E8%B7%AF%E9%82%8A%E7%94%98%E8%94%97%E7%9C%BE%E4%BA%BA%E5%95%83.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV7qGzoraqLnejjOZHO0DBsKYrGHLY7-r5A3m5qgFGyFuoWgPrxJPl1TgdMA0QeIBUHKA2XQ5MWNQ1YwZIGN_f1cXs5vL2uwdkcj30L8ZnrM1POjBeW7_oJwYMDOBtTcvu75ECtwtx3j6K/s1600/24%E8%B7%AF%E9%82%8A%E7%94%98%E8%94%97%E7%9C%BE%E4%BA%BA%E5%95%83.jpg" height="320" width="223" /></a></div>
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<b><i>Everyone Takes A Bite out of Roadside Sugarcanes</i> (Taipei: Chiu Ko Publishing House, 2014)</b></div>
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《路邊甘蔗眾人啃》(台北:九歌出版,2014)</div>
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<i>Beigang Incense Burner of Lust</i>, a book about women and sex, was first published in 1997. Fifteen years later, Li Ang has launched her <i>Everyone Takes A Bite out of Roadside Sugarcanes</i>, a book about “men, politics and body. ” She once again has challenged the boundary of social taboos and used the history of the Taiwanese democratic movements to tell the story from a new perspective. Her boldness in dissecting the structure of symbiosis between power and sex reveals a wild scene of politics in Taiwan. She continues to challenge herself and create a new landscape of writing contemporary fictions in Taiwan. </div>
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--Translated from <a href="http://www.chiuko.com.tw/book.php?book=detail&bookID=3191" target="_blank">九歌文學網</a> by Min-min Liang</div>
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寫女人與性的《北港香爐人人插》問世十五年後,李昂推出「男人、政治、身體」的《路邊甘蔗眾人啃》,用全新的敘述觀點,再次突破禁忌,出入台灣民主運動史,大膽解剖權力與性共生結構,並著墨台灣政壇千奇百怪之現象,向自我挑戰,為當代小說開啟新格局。</div>
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--引自<a href="http://www.chiuko.com.tw/book.php?book=detail&bookID=3191" target="_blank">九歌文學網</a></div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-49110187884230807632013-09-28T09:31:00.003-07:002015-01-27T17:53:47.660-08:00A Gourmand's Secret Footpath<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-ewS-sWrfdh4alF1iasP0UnFOiZsZWPrNO4OUwCHbEVOPHqI2p_tkshnu9Pivt2L3_KO_bnVzjJcQYXEtXZvxKm8my5eykcaFkTisc4padQupDbmhajJtN0lATX7MGl0oZWu9sgI84TBz/s1600/34%E6%84%9B%E5%90%83%E9%AC%BC%E7%9A%84%E7%A5%95%E5%BE%91.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-ewS-sWrfdh4alF1iasP0UnFOiZsZWPrNO4OUwCHbEVOPHqI2p_tkshnu9Pivt2L3_KO_bnVzjJcQYXEtXZvxKm8my5eykcaFkTisc4padQupDbmhajJtN0lATX7MGl0oZWu9sgI84TBz/s1600/34%E6%84%9B%E5%90%83%E9%AC%BC%E7%9A%84%E7%A5%95%E5%BE%91.jpg" height="320" width="232" /></a></div>
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<b><i>A Gourmand’s Secret Footpath: Li Ang’s Guide of A Gourmet Food Trip </i></b></div>
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<b>(Taipei: You Lu Culture Publishing House, 2013)</b></div>
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《愛吃鬼的祕徑:李昂帶路的美食奇妙之旅》(台北:有鹿文化,2013)</div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-90798418001613807242011-09-28T06:46:00.003-07:002015-01-26T23:35:29.995-08:00Possession<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT0hI18jpZdaY5AasjP2L_8tgNNWWvnSvu2i8BNtr95OU-jQSczIVfLoS0RdGdmB1LU7aJ921VBzbJvy7J47dgKGAkZoDpNyMfwZdBSLHOFbAn9tBRw4L8UfnaNnVcrR7vIPp0otXv5cLG/s1600/23%E9%99%84%E8%BA%AB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT0hI18jpZdaY5AasjP2L_8tgNNWWvnSvu2i8BNtr95OU-jQSczIVfLoS0RdGdmB1LU7aJ921VBzbJvy7J47dgKGAkZoDpNyMfwZdBSLHOFbAn9tBRw4L8UfnaNnVcrR7vIPp0otXv5cLG/s1600/23%E9%99%84%E8%BA%AB.jpg" height="320" width="225" /></a></div>
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<b><i>Possession</i> (Taipei: Chiu Ko Publishing House, 2011)</b></div>
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《附身》(台北:九歌出版,2011)</div>
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One’s downfall is caused by one’s persistent belief in either the god worship or spiritual possession. Who can tell the truth? Who can tell the difference between god and devil? An island like Taiwan was ruled by Netherlands, Qing empire, Japan and KMT government for the past hundreds years, and the island went through a process of being possessed in each reign and was possessed again and again, covered with scars and marks of trauma. Aren’t the islanders, from generation to generation, in some respects also going through the process of being possessed? Both the people and the island have being repeatedly possessed, so what could they depend on? Li Ang explored the idea of life and death; romantic love and family love in an extremely unconventional way. </div>
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--Translated from <a href="http://www.chiuko.com.tw/book.php?book=detail&bookID=2933" target="_blank">九歌文學網</a> by Min-min Liang</div>
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眾生的膜拜,或神或魔的依附,皆因執著而沉淪。誰又能辨誰是誰非,誰是神明、誰是魔障?而像台灣這樣的島嶼,百千年來歷經荷蘭、清帝國、日本、國民黨政府所統治,每一個統治,都像是一種附身,島嶼留下一再被附身的印記、傷痕……台灣島嶼形同被一再附身。而我們,歷經的生生世世,在某種意義上來說,不也是一種附身?被一再附身的我們,被一再附身的島嶼,什麼可以是依歸?李昂試探生命、死亡 ﹔愛情 、親情的另類極致!</div>
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--引自<a href="http://www.chiuko.com.tw/book.php?book=detail&bookID=2933" target="_blank">九歌文學網</a></div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-6997551767365795312009-09-28T09:28:00.003-07:002015-01-26T22:03:33.912-08:00The Splendid Adventure of A Gourmand<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpD9Nat_51Ou1nW5f31QOPeZCcvJkdBaWWyN_k6CAUNif9v529EnFA5B5MoBcLx_OukV5ORvQHO0CQcFc_qp_3P9p9fYnmqp2SYyb9lZRtuovxRAHNtVTPMO4m0TOZnQC_EKwQjxi43kjS/s1600/33%E6%84%9B%E5%90%83%E9%AC%BC%E7%9A%84%E8%8F%AF%E9%BA%97%E5%86%92%E9%9A%AA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpD9Nat_51Ou1nW5f31QOPeZCcvJkdBaWWyN_k6CAUNif9v529EnFA5B5MoBcLx_OukV5ORvQHO0CQcFc_qp_3P9p9fYnmqp2SYyb9lZRtuovxRAHNtVTPMO4m0TOZnQC_EKwQjxi43kjS/s1600/33%E6%84%9B%E5%90%83%E9%AC%BC%E7%9A%84%E8%8F%AF%E9%BA%97%E5%86%92%E9%9A%AA.jpg" height="320" width="234" /></a></div>
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<b><i>The Splendid Adventure of A Gourmand</i> (Taipei: You Lu Culture Publishing House, 2009)</b></div>
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《愛吃鬼的華麗冒險》(台北:有鹿文化出版,2009)</div>
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<br />the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-48038377522568522852009-09-25T21:02:00.003-07:002015-01-26T23:36:46.463-08:00Marriage in Seven Lives: Entangled Love Affair of Taiwanese / Mainlander<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixGGQPuGRanpOhgNZ_UoBl4H5z_iisi-oCEXbq4wu4OHC_w3EVrrTnbfRB_fMhyphenhyphenf2UcahbQJ4NlIRXiSmfQdLRGd8wZYa9llIduuIw72hD72IYGyGtZwDGrsFpqZBpsETwYtVaJUiX4OdT/s1600/22%E4%B8%83%E4%B8%96%E5%A7%BB%E7%B7%A3%E4%B9%8B%E5%8F%B0%E7%81%A3%EF%BC%8F%E4%B8%AD%E5%9C%8B%E6%83%85%E4%BA%BA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixGGQPuGRanpOhgNZ_UoBl4H5z_iisi-oCEXbq4wu4OHC_w3EVrrTnbfRB_fMhyphenhyphenf2UcahbQJ4NlIRXiSmfQdLRGd8wZYa9llIduuIw72hD72IYGyGtZwDGrsFpqZBpsETwYtVaJUiX4OdT/s1600/22%E4%B8%83%E4%B8%96%E5%A7%BB%E7%B7%A3%E4%B9%8B%E5%8F%B0%E7%81%A3%EF%BC%8F%E4%B8%AD%E5%9C%8B%E6%83%85%E4%BA%BA.jpg" height="320" width="226" /></a></div>
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<b><i>Marriage in Seven Lives: Entangled Love Affair of Taiwanese / Mainlander </i></b></div>
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<b>(Taipei: Linking Publishing Company, 2009)</b></div>
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《七世姻緣之台灣/中國情人》(台北:聯經出版,2009)</div>
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Li Ang who is well known for writing about women and sexual desire, presents a love story with an unusual emotion. Adopting a mood of lyrical sentimentality and a belief in mysterious fatalism, Li tells a cursed and entangled love story evolves through past lives to the present lives…The background of the story is set in contemporary Taiwan and China. The female and male protagonists have encountered each other time after time. Is it because of their longing for each other? Or is it the result of memories life after life? In the swirls of karma, there is a distinct beat of protagonists’ profound love in multiple lifetimes. It tells a love hidden in the most inner part of one’s heart, and a love that cannot be described.</div>
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--Translated from <a href="http://www.linkingbooks.com.tw/LNB/book/Book.aspx?ID=184128" target="_blank">聯經出版</a> by Min-min Liang</div>
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寫女性與愛慾見長的李昂,以近年來少見的行文抒情氣息,在神秘的宿命氛圍和浪漫感傷中,鋪陳一段累世不得解的怨咒下的愛情。而終來到了今生今世……</div>
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小說以現代台灣、中國的現況作為背景。故事主角一再相遇,是企盼心念造就的因?還是累世記憶重複的果?在無休止的因緣漩渦之中,牽發出故事主角刻苦銘心的悸動,不只一生一世,更道出人間情感藏匿於最幽微深處,難以言說的奧秘。</div>
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--引自<a href="http://www.linkingbooks.com.tw/LNB/book/Book.aspx?ID=184128" target="_blank">聯經出版</a></div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-10939110320883387672008-09-28T23:51:00.003-07:002015-01-26T21:41:13.659-08:00Selected Novellas in the Year Ninety-Six<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3e9iULzn8HjlFa4O-ESsAtBNNG8XsCi0VFnnpLhcg7sRaJCbqfpmLtwcz7QgnDa1OMHygNQEWuoRgZQDzqp91K8lxMutxtq-5EBS7DufSXUPQpFbxtWZYX6E9Mp0VTkkkFcd4i0BE4cBn/s1600/42%E4%B9%9D%E5%8D%81%E5%85%AD%E5%B9%B4%E5%B0%8F%E8%AA%AA%E9%81%B8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3e9iULzn8HjlFa4O-ESsAtBNNG8XsCi0VFnnpLhcg7sRaJCbqfpmLtwcz7QgnDa1OMHygNQEWuoRgZQDzqp91K8lxMutxtq-5EBS7DufSXUPQpFbxtWZYX6E9Mp0VTkkkFcd4i0BE4cBn/s1600/42%E4%B9%9D%E5%8D%81%E5%85%AD%E5%B9%B4%E5%B0%8F%E8%AA%AA%E9%81%B8.jpg" height="320" width="229" /></a></div>
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<b><i>Selected Novellas in the Year Ninety-Six</i> (Taipei: Chiu Ko Publishing House, 2010)</b></div>
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編選《九十六年小說選》(台北:九歌出版,2008)</div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-895069398321727122007-09-25T20:53:00.003-07:002015-01-26T23:38:03.358-08:00An Erotic Feast For Lovebirds<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRrn7Zi4hHceiNoj56nU6dEFPQLQmNwMr8YS7t4rYc2ux4GIy6ia6FFcD-BzCOrOoFe9TjoPPzPYd3H5GvNt4TMfRcNrM6QrKRWdm-a3iO6CFodnT4Ltkmx-aVrlmvLQntT2648zgxFyT3/s1600/21%E9%B4%9B%E9%B4%A6%E6%98%A5%E8%86%B3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRrn7Zi4hHceiNoj56nU6dEFPQLQmNwMr8YS7t4rYc2ux4GIy6ia6FFcD-BzCOrOoFe9TjoPPzPYd3H5GvNt4TMfRcNrM6QrKRWdm-a3iO6CFodnT4Ltkmx-aVrlmvLQntT2648zgxFyT3/s1600/21%E9%B4%9B%E9%B4%A6%E6%98%A5%E8%86%B3.jpg" height="320" width="223" /></a></div>
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<b><i>An Erotic Feast For Lovebirds</i> (Taipei: Unitas Publishing Co., 2007)</b></div>
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《鴛鴦春膳》(台北:聯合文學出版,2007)</div>
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Li Ang devoted herself to memories of delicious food, and created a romantic vision of a feast. For six years, she has searched for gourmet ingredients all over the world, and laboriously cooked up a delicious feast for us. <i>An Erotic Feast For Lovebirds </i>is her first novel on food.</div>
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--Translated from <a href="http://unitas.udngroup.com.tw/web_old/c/c1/book444.htm" target="_blank">聯合文學官網</a> by Min-min Liang</div>
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一種十分羅曼蒂克的憧憬,讓小說家李昂不惜全然投入、以身相許於飲食。</div>
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歷經全世界性的追逐美食尋找材料,六年來她精心調製了〈果子狸與穿山甲〉、〈咖哩飯〉、〈牛肉麵〉、〈珍珠奶茶〉、〈春膳〉、〈國宴〉、〈素齋〉等飲膳佳構,融會成她的第一部長篇飲食小說《鴛鴦春膳》。</div>
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--引自<a href="http://unitas.udngroup.com.tw/web_old/c/c1/book444.htm" target="_blank">聯合文學官網</a></div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-83754506134240418802005-09-25T20:47:00.003-07:002015-01-26T23:39:56.213-08:00Bewitching Love<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFdn0J7R-gSGlrk50tlQqb_IKTyvYZZf88cGFTEUjYVBtJqbgscL3rSTFPOty2ZghxH1P4u9qLOveEoSt6h2dMst4GmrGWsQBbHfFIN0tsTxpgbz63UilAVLoHXPnaFexXaNQ94KCIuySJ/s1600/20%E8%8A%B1%E9%96%93%E8%BF%B7%E6%83%85.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFdn0J7R-gSGlrk50tlQqb_IKTyvYZZf88cGFTEUjYVBtJqbgscL3rSTFPOty2ZghxH1P4u9qLOveEoSt6h2dMst4GmrGWsQBbHfFIN0tsTxpgbz63UilAVLoHXPnaFexXaNQ94KCIuySJ/s1600/20%E8%8A%B1%E9%96%93%E8%BF%B7%E6%83%85.jpg" height="320" width="221" /></a></div>
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<b><i>Bewitching Love </i>(Taipei: Locus Publishing House, 2005)</b></div>
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《花間迷情》(台北:大塊出版,2005)</div>
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This story is not only about lesbians, but also about women, about women’s love. Women’s sexuality occurs along a spectrum--a spectrum that includes heterosexuality, bisexuality, homosexuality, and queer-identification. Four different women are searching for sex and love; exploring their bodies and identities on their own with or without the presence of men. There is an entanglement of love and sexual desire, disillusion and hope…</div>
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The famous writer Li Ang has revealed a female world to us here. As a female storyteller, she always stays sharp and lucid. This is not only a trick to fascinate her audience but also a secret for her and the entire race of woman to survive in the eternal dark nights. </div>
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--Translated from <a href="http://www.locuspublishing.com/Produck.aspx?bokId=1111TT031" target="_blank">大塊Online</a> by Min-min Liang</div>
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這個故事不只是關於女同志,而且是關於女人,關於女人之愛。在女性光譜中不同的女人,這光譜可以涵蓋從異性戀、雙性戀、同性戀到酷兒,這女性光譜中四個不同的女人,當男人在場∕不在場時,對自身的性、愛、身體與自我的追尋,交纏的愛與慾、幻滅與希望…… </div>
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這是知名女作家李昂展現的女性世界。身為一個說故事的女子,她始終保持著清醒,這不只是迷惑住聽眾的秘訣,還是在亙古的黑夜裡讓自己以及一整個女性族群生存的秘密。</div>
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--引自<a href="http://www.locuspublishing.com/Produck.aspx?bokId=1111TT031" target="_blank">大塊Online</a></div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-3673464794236718342004-09-25T20:35:00.003-07:002015-06-16T02:28:34.520-07:00Visible Ghosts<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEbv5saXdkRdxshPuPam8QkfMxxF3ZEsuCu9s9wJ3uuzpx0h1eBEaZHf_8dUYT1I2li03yzeWEy79EafFTjkeFWGe_Y36qoklNTiNkYYadQARx4gt2xfaqJ__qvzlQ3f8BWAKqZg5BpQoL/s1600/19%E7%9C%8B%E5%BE%97%E8%A6%8B%E7%9A%84%E9%AC%BC.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEbv5saXdkRdxshPuPam8QkfMxxF3ZEsuCu9s9wJ3uuzpx0h1eBEaZHf_8dUYT1I2li03yzeWEy79EafFTjkeFWGe_Y36qoklNTiNkYYadQARx4gt2xfaqJ__qvzlQ3f8BWAKqZg5BpQoL/s1600/19%E7%9C%8B%E5%BE%97%E8%A6%8B%E7%9A%84%E9%AC%BC.jpg" width="223" /></a></div>
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<b><i>Visible Ghosts </i> (Taipei: Unitas Publishing Co., 2004)</b></div>
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《看得見的鬼》(台北:聯合文學出版,2004)</div>
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Renowned for being rebellious, ready to challenge authority and scandalously direct depictions of sex, Li Ang’s follow-up to her “People” book switches the focus to “Ghosts”. More specifically, she uses “Female Ghosts” to interpret the world around us. As someone that grew up with scary ghost stories, Li remembers her hometown, Lugang, as such; each and every corner of all its alleyways and streets was occupied by one ghost. Lugang is thus alluded to in her story as Lucheng (meaning ‘Town of Deer’). Li Ang, with all her literary might, has created a ghost kingdom more haunting, more hair-raising than Dark Tales, a Chinese classic. The East, North, West, South and Center of the fictional kingdom are dominated by five female ghosts; such is the premise, in which to outline the frightful ghosts-inhabited fables. Steering clear of female ghosts in conventional yarns, Li focuses on creating alternative female ghosts exclusive to Taiwan. In this borderless kingdom of ghosts, female specters are let loose, to roar, to shriek, and to be heard.</div>
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--Quoted from <a href="http://tln.nmtl.gov.tw/ch/m10/nmtl_w1_m10_s1_c_1.aspx?sid=7" target="_blank">Taiwan Literature Net</a></div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-64436201763528399122002-09-29T00:03:00.003-07:002015-01-26T21:36:52.966-08:00Selected Novellas in the Year Ninety<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYPOeL0IaDsuaXe6kuQZDPzzhU1PkBX653mIuauvVni00-JB2uEXi-SBq7iaVfmd50nhiGL63NL68R3pS_Fq8h7O8_XpUnmJQjAdeGStz04r0o-dqPUeYYd2rhJ7pK-2Mp0KaNfFxCvIok/s1600/43%E4%B9%9D%E5%8D%81%E5%B9%B4%E5%B0%8F%E8%AA%AA%E9%81%B8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYPOeL0IaDsuaXe6kuQZDPzzhU1PkBX653mIuauvVni00-JB2uEXi-SBq7iaVfmd50nhiGL63NL68R3pS_Fq8h7O8_XpUnmJQjAdeGStz04r0o-dqPUeYYd2rhJ7pK-2Mp0KaNfFxCvIok/s1600/43%E4%B9%9D%E5%8D%81%E5%B9%B4%E5%B0%8F%E8%AA%AA%E9%81%B8.jpg" height="320" width="232" /></a></div>
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<b><i>Selected Novellas in the Year Ninety</i> (Taipei: Chiu Ko Publishing House, 2002)</b></div>
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編選《九十年小說選》(台北:九歌出版,2002)</div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-43251429345277142682002-09-28T09:29:00.003-07:002015-01-26T21:34:32.913-08:00Gourmand<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh33fxG066EeDoWCv61Sn01U8pCybZ9WBhhJcdSYlRB8Nk-6bqHzOy5YoHRBZsyLhJt-aIieSeO3f4gMh1Kc2iSeHKtEZLS-nEmZHPPA6KL8wDZSO_mvuEoTYV3u-OOlMJrVnkeU1vMeTcK/s1600/img042.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh33fxG066EeDoWCv61Sn01U8pCybZ9WBhhJcdSYlRB8Nk-6bqHzOy5YoHRBZsyLhJt-aIieSeO3f4gMh1Kc2iSeHKtEZLS-nEmZHPPA6KL8wDZSO_mvuEoTYV3u-OOlMJrVnkeU1vMeTcK/s1600/img042.jpg" height="320" width="248" /></a></div>
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<b><i>Gourmand</i> (Taipei: Yi Fang Publisher, 2002)</b></div>
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《愛吃鬼》(台北:一方出版,2002)</div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-23512586245833784972000-09-28T09:16:00.003-07:002015-01-26T21:21:23.812-08:00Drifting Voyageur<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihYizSAETJig9FVYl3J-_IRW_QtyLGZE_x4hZHMQzxmIjogYdqxv8OcKxyBN5hkO9mcjUtVepRRE65IxSKGaZVi7X-iw4lIkI_-0UVXI8K0HyJBDvjL-TdDBETHnEzdI9ekjI8N67PlY7n/s1600/31%E6%BC%82%E6%B5%81%E4%B9%8B%E6%97%85.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihYizSAETJig9FVYl3J-_IRW_QtyLGZE_x4hZHMQzxmIjogYdqxv8OcKxyBN5hkO9mcjUtVepRRE65IxSKGaZVi7X-iw4lIkI_-0UVXI8K0HyJBDvjL-TdDBETHnEzdI9ekjI8N67PlY7n/s1600/31%E6%BC%82%E6%B5%81%E4%B9%8B%E6%97%85.jpg" /></a></div>
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<b><i>Drifting Voyageur</i> (Taipei: Crown Publishing House, 2000)</b></div>
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《漂流之旅》(台北:皇冠出版,2000)</div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-33826601080182669722000-09-25T20:31:00.003-07:002015-06-16T02:30:52.378-07:00Autobiography: A Novel<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMI6aYqz_5uHAonmfM4qE-3p7xSJLaxyHwbOtLih4UK2g-4zsjlK7Q3hbry4EkB8_py_KPMS0fKdXYQa39yoH9paTMir1Mx4-z5WTnWg5Vu61q2c0APvNQ7gHi6U_p43QEzBT2GxnMRdAC/s1600/18%E8%87%AA%E5%82%B3%E3%81%AE%E5%B0%8F%E8%AA%AA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMI6aYqz_5uHAonmfM4qE-3p7xSJLaxyHwbOtLih4UK2g-4zsjlK7Q3hbry4EkB8_py_KPMS0fKdXYQa39yoH9paTMir1Mx4-z5WTnWg5Vu61q2c0APvNQ7gHi6U_p43QEzBT2GxnMRdAC/s1600/18%E8%87%AA%E5%82%B3%E3%81%AE%E5%B0%8F%E8%AA%AA.jpg" width="226" /></a></div>
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<b><i>Autobiography: A Novel </i>(Taipei: Crown Publishing House, 2000)</b></div>
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《自傳の小說》(台北:皇冠出版,2000)</div>
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This is a biography based on the story of Xie Xuehong, the most fiery and proud heroine in Taiwan’s modern history. A born rebel gifted with beauty and intelligence, her life was destined to be one of hardship. By confronting Japanese imperialism, Kuomintang’s feudalism and the Communist dictatorship, she was pursued by the authorities, imprisoned, tortured and finally executed. Even to the bitter end, never once did she abandon her identity as a female revolutionary who was more than ready to die for her beliefs. This complex tapestry of writing in Autobiography: A Novel weaves through history, fiction and the illusion of the both. What it reflects is not merely the life of Xie Xuehong or the power manipulation by female politicians, but, essentially, also the life of women in their collective entirety over the century.</div>
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--Quoted from <a href="http://tln.nmtl.gov.tw/ch/m10/nmtl_w1_m10_s1_c_1.aspx?sid=91" target="_blank">Taiwan Literature Net</a></div>
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這是一部傳記:以台灣現代史上最斑斕的孤傲花謝雪紅的故事為經緯。滿身反骨、聰敏美麗的她,注定一生顛沛。從反抗日本帝國主義,反抗國民黨封建政權,到反抗中共獨裁統治,以致數度遭通緝、入獄、被刑求,但她始終以不惜以身殉死的女性革命者自許!夾織著複雜多變的文體,梭巡在史料幻像中的《自傳的小說》,映現出的不只是謝雪紅的生平,也不只是女性政客對權力的操控;或許,真正含藏的是百年來女人的一生。</div>
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--引自<a href="http://tln.nmtl.gov.tw/ch/m10/nmtl_w1_m10_s1_c_1.aspx?sid=91" target="_blank">台灣文學網</a></div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-49074193894954820271999-09-25T20:03:00.003-07:002015-01-27T17:54:15.320-08:00The Dark Night of Forbidden Desire<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWWc9u12JO1ve0uyPxoj9ppnF-pjWg9e0eE5r_mPS1jW2p5PaxdnWcyxG0cb2bQcbUfPJwkhF0osRChTe5bWHcEkYIdwfSYAcSbUq7oMRqy-DoMIVyCNEhz82m7B4IDdWuRlR01lWp5bRZ/s1600/17%E7%A6%81%E8%89%B2%E7%9A%84%E6%9A%97%E5%A4%9C%EF%BC%9A%E6%9D%8E%E6%98%82%E6%83%85%E8%89%B2%E5%B0%8F%E8%AA%AA%E9%9B%86.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWWc9u12JO1ve0uyPxoj9ppnF-pjWg9e0eE5r_mPS1jW2p5PaxdnWcyxG0cb2bQcbUfPJwkhF0osRChTe5bWHcEkYIdwfSYAcSbUq7oMRqy-DoMIVyCNEhz82m7B4IDdWuRlR01lWp5bRZ/s1600/17%E7%A6%81%E8%89%B2%E7%9A%84%E6%9A%97%E5%A4%9C%EF%BC%9A%E6%9D%8E%E6%98%82%E6%83%85%E8%89%B2%E5%B0%8F%E8%AA%AA%E9%9B%86.jpg" height="320" width="233" /></a></div>
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<b><i>The Dark Night of Forbidden Desire: A Collection of Erotic Short Stories by Li Ang</i></b></div>
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<b>(Taipei: Crown Publishing House)</b></div>
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《禁色的暗夜:李昂情色小說集》(台北:皇冠出版,1999)</div>
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就呈現男同性戀而言,李昂的短篇小說〈禁色的愛〉(1989)比《孽子》歡愉、肯定同志身分。它沒有《孽子》裡對父子關係的執迷;又緣於它嘲諷第一世界男同志對於第三世界男同志的優越感,歡愉和權力遊戲隧取代了《孽子》中的罪惡感和悲情。李昂生動露骨地描寫男同志性愛場景,這與她一貫的性解放派女性主義立場相符。此一大膽的性開放態度預示了九〇年代同志/酷兒運動中類似的性政治。尤其有趣的是,小說中的性政治緊緊扣連了種族和族群政治。</div>
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書中所呈現的台北男同志和洛杉磯男同志的連結暗示了全球化的過程。然而在跨國家、跨族裔的微妙權力遊戲中我們所見到的卻是對台灣男同志主體性的頌揚,而這明顯的是對台灣國族主義象徵性的宣示。</div>
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--選自劉亮雅 〈在全球化與在地化的交錯之中〉《後現代與後殖民解嚴以來台灣小說專論》,</div>
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台北:麥田,頁183,186。</div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-71338234651217046231997-09-25T20:02:00.003-07:002015-01-26T23:41:42.937-08:00Beigang Incense Burner of Lust: The Devil with a Chastity Belt Series<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbRUc1sCvpPAssZgtvVz5sTKArWTfS0NoEuNtwR5fyB-no7aC1jjDUttsw4WFrrLf6bS2vJb7rPUWVK_NMZxdE3NpMZzBoHN-MuIqkjLXDsmwH3U79B35ECMLUrWSd5C4f5vi8dNOu5AF1/s1600/16%E5%8C%97%E6%B8%AF%E9%A6%99%E7%88%90%E4%BA%BA%E4%BA%BA%E6%8F%92%EF%BC%9A%E6%88%B4%E8%B2%9E%E6%93%8D%E5%B8%B6%E7%9A%84%E9%AD%94%E9%AC%BC%E7%B3%BB%E5%88%97.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbRUc1sCvpPAssZgtvVz5sTKArWTfS0NoEuNtwR5fyB-no7aC1jjDUttsw4WFrrLf6bS2vJb7rPUWVK_NMZxdE3NpMZzBoHN-MuIqkjLXDsmwH3U79B35ECMLUrWSd5C4f5vi8dNOu5AF1/s1600/16%E5%8C%97%E6%B8%AF%E9%A6%99%E7%88%90%E4%BA%BA%E4%BA%BA%E6%8F%92%EF%BC%9A%E6%88%B4%E8%B2%9E%E6%93%8D%E5%B8%B6%E7%9A%84%E9%AD%94%E9%AC%BC%E7%B3%BB%E5%88%97.jpg" height="320" width="224" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFPtX2E_YeFKXa1ZtD9-UJc5NIF5b4VDqz-TbV1ZGF7d11rC1GAajYnNZCqQJQTKnGsO3Vwos5umbWb1wyySlLgT5lz74aJvw6ekXWURuf6dsuGln2g9Axf4FJKlANH04YiQiKpiTIv8Bu/s1600/%E4%B9%9D%E6%AD%8C%E5%8C%97%E6%B8%AF%E9%A6%99%E7%88%90%E4%BA%BA%E4%BA%BA%E6%8F%92%EF%BC%9A%E6%88%B4%E8%B2%9E%E6%93%8D%E5%B8%B6%E7%9A%84%E9%AD%94%E9%AC%BC%E7%B3%BB%E5%88%97.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFPtX2E_YeFKXa1ZtD9-UJc5NIF5b4VDqz-TbV1ZGF7d11rC1GAajYnNZCqQJQTKnGsO3Vwos5umbWb1wyySlLgT5lz74aJvw6ekXWURuf6dsuGln2g9Axf4FJKlANH04YiQiKpiTIv8Bu/s1600/%E4%B9%9D%E6%AD%8C%E5%8C%97%E6%B8%AF%E9%A6%99%E7%88%90%E4%BA%BA%E4%BA%BA%E6%8F%92%EF%BC%9A%E6%88%B4%E8%B2%9E%E6%93%8D%E5%B8%B6%E7%9A%84%E9%AD%94%E9%AC%BC%E7%B3%BB%E5%88%97.jpg" height="320" width="228" /></a></div>
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<i><b>Beigang Incense Burner of Lust: The Devil with a Chastity Belt Series</b></i></div>
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<b> (Taipei: Rye Field Publishing Co., 1997)</b></div>
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<b>(Taipei: Chiu Ko Publishing House, 2010)</b></div>
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《北港香爐人人插:戴貞操帶的魔鬼系列》</div>
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(台北:麥田出版,1997)</div>
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(台北:九歌,2010)</div>
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Li Ang, a trailblazer of erotic fictions, ripped apart the traditional boudoir writing style. She glared into sexual desires and neatly presented a dark side of marginalized women. The Devil with a Chastity Belt Series, a political novel, includes four independent short stories, “The Devil with Chastity Belt,” “The Empty Mourning Hall,” “Beigang Incense Burner for Lust” and “Bloody Sacrifice with Color Make-up.” They are an impression and reflection of Li Ang’s participation in anti-party movements as a woman during the 90s. </div>
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--Translated from <a href="http://www.chiuko.com.tw/book.php?book=detail&bookID=2797" target="_blank">九歌文學網</a> by Min-min Liang</div>
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台灣情慾小說的最佳引路人李昂,銳利地撕破傳統閨閣書寫意識,逼視情慾,耙梳邊緣化女性的陰暗面向。書中〈戴貞操帶的魔鬼〉、〈空白的靈堂〉、〈北港香爐人人插〉和〈彩妝血祭〉分別為四篇獨立的短篇小說,合則為長篇「戴貞操帶的魔鬼系列」政治小說。是李昂在九○年代,以女性身分參加反對黨運動的印象與反思。</div>
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--引自<a href="http://www.chiuko.com.tw/book.php?book=detail&bookID=2797" target="_blank">九歌文學網</a></div>
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<b>〈彩妝血祭〉導讀/邱貴芬(中興大學外文系)</b></div>
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<b>原載於《日據以來台灣女作家小說選讀(下)》,邱貴芬主編(2001,台北:女書店) </b></div>
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在1995年接受的一場訪談裡,李昂談到她早期寫作,深受西方「現代主義」思潮所標榜的反叛精神的影響,並點出這樣的反叛精神與她小說偏好與「性」相關議題的探討有密切的關聯。她說:</div>
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現代主義基本上是很具有反叛精神。台灣過去四十年裡,是一個充滿謊言的時代,而且充滿了封建思想和社會上很多不公。「性」只是當時我關懷的,用來批判社會,或者是借用來展露一些在這樣壓抑社會下的人性問題。我相信那個時候如果能寫政治的話,我也會去寫政治。(邱貴芬,《(不)同國女人聒噪》,頁99-100)</blockquote>
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李昂早期的作品環繞著性的議題,寫得最精采的是性與經濟機制和權力之間的複雜互動。八<span style="text-align: right;">○</span>年代中葉發表的〈殺夫〉、〈暗夜〉堪稱此類作品的代表。</div>
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步入九<span style="text-align: right;">○</span>年代,台灣解嚴,政治議題在李昂的小說裡逐漸浮上檯面。在1991年出版的《迷園》裡,李昂以她獨特的觀點切入當時台灣政治和文化論壇盛極一時的國族論述,整部小說鋪陳性別認同/國族敘述/記憶政治之間的瓜葛糾纏,引發不少評論者的注意。九<span style="text-align: right;">○</span>年代中葉之後陸續發表的「戴貞操帶的魔鬼系列」後來結集成《北港香爐人人插》一書出版,書裡收納的四篇小說同樣展現李昂對當代台灣議題敏銳的觀察和思考,呈現國族運動裡女人與性別角色扮演的複雜問題。〈彩妝血祭〉堪稱《北港香爐人人插》四篇小說裡結構最完善的一篇,除了涉及當時議論紛紛的「二二八集體記憶」和受難家屬問題之外,更牽引出當當代女性主義對國族論述的反思,是篇層次相當繁複的作品,既充分展現了李昂作品一貫的高度批判性和她小說與台灣社會密切互動的關係,也代表了她九<span style="text-align: right;">○</span>年代政治與性別鑲嵌的寫作特色。</div>
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李昂的〈彩妝血祭〉表面上採取了「受難家屬」的形式,卻別有洞天,發展出另類的思考重點。一般有關「女性二二八」的寫作角度通常在開頭時返回「二二八」發生時刻,再帶出隨後餘波,以便探討女性受難家屬在此創傷之後的種種困境。女性受難家屬的回憶在此情況下,雖然展現了女性對相關政治事件的另一種被壓抑、被遺忘的記憶,但是,整體而言,仍是以較接近「補充」的角色來支撐挖掘男性二二八記憶的政治訴求。〈彩妝血祭〉雖然仍以一位二二八女性受難者家屬和她聚同性戀取向的兒子為主角,但其探討的議題則超越當時「女性二二八」撰述通常呈現的格局。這篇小說直接以台灣社會現時建構「二二八記憶」的集體活動儀式為出發點來探討「二二八記憶」所牽涉的問題。小說以種種層次扮裝/補妝意象作為佈局,在故事敘述上大致分公共空間/私人空間、壓抑/公開兩個方向進行,在小說呈現的公共社會空間裡,台灣社會正進行一場重要的「弔祭二二八」的社會儀式,解除五十年來因白色恐怖和政治戒嚴所造成的「不能言」的痛苦。紀念儀式中,司儀的一段話挑明了小說的這層意義:</div>
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咱,做為受難家屬,終能將這近五十年來暗藏的苦痛,公開的、正式的說出來,不免再假,不免再說謊,假裝沒這個事件發生、咱的親人不被殺、被關;不免再假說咱心不碎、不怨恨、不苦痛。今晚,咱終能大聲說出咱的悲情、咱的血淚,今晚,代表的是謊言結束、公義開始……(頁216)</blockquote>
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在這公共空間「不再假裝」儀式進行之時,小說也同時呈現了一個隱密的私人空間:身為政治受難家屬並長年投入反對運動的王媽媽正在離會場不遠的樓房裡為因愛滋病死去的同性戀兒子做屍身入土前最後的化妝。王媽媽在兒子生前拒絕接受他同性戀身分,掉頭離去並與他斷絕關係,但在此時卻細心地為躺在棺材裡的兒子撲粉點胭脂,並拿出自己新婚之夜的真絲浴袍套上屍體,說:「你放心,以後不免假了。」 兩相對照,前面引述的二二八公開紀念儀式司儀的話因而另有一番意義。透過社會儀式凝聚的集體認同,二二八的記憶終於解除了被壓抑的狀態,二二八受難家屬可以拆下假面,面對事時實的苦痛;但是,「假裝」和「衣櫃」閉鎖狀態卻仍存於在台灣社會的其它層面。小說操弄當代性別扮裝/妝理論,在性別真假辯證當中遊走:王媽媽為兒扮妝,遂其生前心願的舉動似在暗示,兒子的男身不過是假面,透過私人儀式,王媽媽以化妝解除兒子生前的假面,小說彩妝意象的弔詭有獨到的曲折之處。</div>
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值得深思的是,受難家屬解除「假裝」是在公共場域,透過社會儀式進行,同性戀的解除「假裝」卻發生在隱密的私人空間;隨後王媽媽敲下鐵釘封棺,小說於此將同性戀「衣櫃」狀態的隱喻發揮到最恐怖的極點。小說最後,身為受難家屬的王媽媽在二二八苦難記憶終得安身之處的夜晚竟選擇自殺求取安息,這樣的結局安排似在暗示,當「假裝」仍舊以不同形式存在於社會之時,「二二八集體記憶」所勾畫的救贖仍然遠不可及。</div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-23359306761539303081994-09-28T09:14:00.003-07:002015-01-26T21:10:28.220-08:00LI Ang Talks about Love<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-qS5pyUx3LeFNuuxRWEwVMmya62c1ILio-VyMFNOSWOrsy96sV9BRaZ1q5ZERio4UXvDpKaSUW1sKMHoCJ7fik18MqKVIX9NALSbaCRzAe__37C0IV7f55flbICFOsmc-5SQ16qouBx1T/s1600/30%E6%9D%8E%E6%98%82%E8%AA%AA%E6%83%85.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-qS5pyUx3LeFNuuxRWEwVMmya62c1ILio-VyMFNOSWOrsy96sV9BRaZ1q5ZERio4UXvDpKaSUW1sKMHoCJ7fik18MqKVIX9NALSbaCRzAe__37C0IV7f55flbICFOsmc-5SQ16qouBx1T/s1600/30%E6%9D%8E%E6%98%82%E8%AA%AA%E6%83%85.jpg" height="320" width="199" /></a></div>
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<b><i>LI Ang Talks about Love</i> (Taipei: Modern Professional Distribution Co., Ltd., (Mod.E) , 1994)</b></div>
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《李昂說情》(台北:貿騰,1994)</div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-14731914302079507891993-09-28T23:43:00.003-07:002015-01-26T21:07:39.554-08:00An Early Chapter of Shi Mingde's Life<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpGPJVUZC2Q6Ae896lb72gtKFg7V_LQFp-x6gYREyvmm2szMF4fzY5hWerDKg5XNvM0k_XzgMjEn-Wvt-ZUlkKN9BySL1jBHKXti1Rt_8juov5ujgUlXvdnhpzD_0knrMGJ73KzaVfI6FP/s1600/41%E6%96%BD%E6%98%8E%E5%BE%B7%E5%89%8D%E5%82%B3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpGPJVUZC2Q6Ae896lb72gtKFg7V_LQFp-x6gYREyvmm2szMF4fzY5hWerDKg5XNvM0k_XzgMjEn-Wvt-ZUlkKN9BySL1jBHKXti1Rt_8juov5ujgUlXvdnhpzD_0knrMGJ73KzaVfI6FP/s1600/41%E6%96%BD%E6%98%8E%E5%BE%B7%E5%89%8D%E5%82%B3.jpg" height="320" width="226" /></a></div>
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<b><i>An Early Chapter of Shi Mingde's Life</i> (Taipei: Avant-garde Publishing House, 1984)</b></div>
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傳記《施明德前傳》(台北:前衛出版,1993)</div>
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<b><span style="color: #274e13;">寬恕與遺忘</span></b></div>
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有人問我,為什麼要寫「施明德前傳」?</div>
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也有人問我,為什麼現在即動筆,不等到施明德這一代的人物都過去,再來為他寫傳。</div>
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我的回答是:</div>
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我不僅在寫「施明德前傳」,我是藉著施明德前大半生,在台灣極其悲壯的過去四十年歷史。至於為何選擇施明德,因為他堪稱是最好的表徵。</div>
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又為什麼現在即動筆?因為,在這個變動快速、物質幾乎占去全數心靈的時代,在這個少有是非、公益不存的時代,多少台灣人已然忘卻了過去、忘卻了公理正義與美德。</div>
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忘卻的,不只是三百年的台灣歷史,忘卻的,甚至是這四十年才走過的血淚與汗。</div>
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當東歐共產集團傾垮,過去活在集權恐怖下的人們,勇敢堅定的說:</div>
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仇恨可以寬恕<br />
歷史不能遺忘</blockquote>
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台灣人寬恕了仇恨,恐怕也遺忘了歷史。</div>
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除卻歷史,我更要說,寫這部「施明德前傳」,是為了信仰。</div>
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並非宗教的信仰,也非政治理念的信仰,而是,對人、對生命、生存的意義的信仰。</div>
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得是怎樣一個血淚交加的抗爭時代,得經過二十五年黑牢多少煎熬與歷鍊,才能塑造出施明德一生的傳奇事蹟。而既然時代會過去,歷史會被淡忘,但患難中人性展現出來的高貴情操與美德,都是我們應該信仰的──特別是在這樣一個價值傾頹的時代。</div>
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所以我說,我是為信仰來寫這部「施明德前傳。」</div>
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由於篇幅的限制,這本書只能集中在施明德的個人與事蹟,對那個時代的諸多重要人、事,勢必不能觸及。這個遺憾,只有希望有更多人,能為那個時代重要的人、事,寫下更多、更寶貴的紀錄。</div>
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而從中,我們將一起謹記這一段台灣歷史。</div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-22071389364210346501992-09-25T19:47:00.003-07:002015-01-26T23:42:56.946-08:00Selected Works by Li Ang<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFD0QAxtOCTz8FYraKu4PZ9D7mvVvLL8-nwDvLvRX6jprfvk9Egkj-RQcmUjR8CLz-IefxGfTTs7xCOaVR_U-hH2v4K8BzoaAwA9RolkMN6vXLlIJFAdmKMqSh6Orxl9j8vaiQMxio9lQX/s1600/15%E6%9D%8E%E6%98%82%E9%9B%86-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFD0QAxtOCTz8FYraKu4PZ9D7mvVvLL8-nwDvLvRX6jprfvk9Egkj-RQcmUjR8CLz-IefxGfTTs7xCOaVR_U-hH2v4K8BzoaAwA9RolkMN6vXLlIJFAdmKMqSh6Orxl9j8vaiQMxio9lQX/s1600/15%E6%9D%8E%E6%98%82%E9%9B%86-1.jpg" height="320" width="232" /></a></div>
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<b><i>Selected Works by Li Ang</i> (Taipei: Avant-garde Publishing House, 1992)</b></div>
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<b>《李昂集》(台北:前衛出版,1992)</b></div>
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When Taiwan transitioned from agricultural society to industrial society, family structures collapsed, and awareness of women’s rights rose. Therefore, many “untraditional and bold” woman writers entered the literary scene in Taiwan and Li Ang was the most controversial one.</div>
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Li Ang is brilliant at probing into the psyche of her male and female protagonists as they navigate their lovemaking. She constantly examines and reflects on the existing relationship between men and women in society. This adds depth to her literary work and has profound social meaning.</div>
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--Translated from <a href="http://www.avanguard.com.tw/ch/CH1/1838/MD/MD0000001838000988.html" target="_blank">前衛出版社</a> by Min-min Liang</div>
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當台灣由農業跨越到工業社會後,家庭解組,女性意識抬頭,文壇上於是出現不少「新潮、大膽」的女作家,李昂是最受爭議的一位。</div>
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李昂擅長於描寫性愛之前的男女雙方內心狀況,而且不時對我們社會中現存的男女關係做深刻的思考與檢討,使她的作品增加一層文學深度與社會意義。</div>
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--引自<a href="http://www.avanguard.com.tw/ch/CH1/1838/MD/MD0000001838000988.html" target="_blank">前衛出版社</a></div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-71975807569553886381991-09-25T19:40:00.003-07:002015-01-26T23:44:19.715-08:00Sweet Life<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7MQ70MCYhh86_MlPm_oDG78VXQv3_4LOTPiuNeF03wBkr0MptRxU4UcdPSzVpbAO9FCLF6sB98RIOmMafG9Te7i5IFy6vyIZcx9PE6KWmvDwWz4IqYMBE99E03W1uT_-9b7thKcvAnZ42/s1600/14%E7%94%9C%E7%BE%8E%E7%94%9F%E6%B4%BB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7MQ70MCYhh86_MlPm_oDG78VXQv3_4LOTPiuNeF03wBkr0MptRxU4UcdPSzVpbAO9FCLF6sB98RIOmMafG9Te7i5IFy6vyIZcx9PE6KWmvDwWz4IqYMBE99E03W1uT_-9b7thKcvAnZ42/s1600/14%E7%94%9C%E7%BE%8E%E7%94%9F%E6%B4%BB.jpg" height="320" width="231" /></a></div>
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<b><i>Sweet Life</i> (Taipei: Hong Fan Publishing House, 1985)</b></div>
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《甜美生活》(台北:洪範出版,1991)</div>
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<span lang="EN-US" style="background: white; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: SimSun; mso-bidi-font-weight: bold; mso-bidi-language: AR-SA; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">Li Ang has a true commitment
to literature and by examining characters’ psyche, she often boldly reveals what
is right and wrong on the subject matter of the era. This is something that her
peers could not achieve. This book is representative of Li Ang’s life in certain
stages. ---Translated by Min-min Liang</span></div>
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李昂對文學有一份真實的執著,能將時代所顯現的是非通過心理解析,以毫不放鬆的手法一一展示,劍及履及,時發同輩作者之所不能發,此書以相當完整的面貌代表了若干階段的她。</div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.comtag:blogger.com,1999:blog-9166092236964867768.post-18839460519948728931991-09-25T17:59:00.003-07:002015-01-26T21:38:42.826-08:00Lost Garden<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig3GH7SZogokmeZ6NlIC09nA4vmAAFLSQ90SvgK6UaxsORBc2BA0eRfD8OiN6cYmWuqogWWzgBsZYmZWSgFWBoH7Jm49hdFmF7jm-4aVrQkdtvkr_lHGlPJodbdOeBEm8yTDoLQdQIUo4x/s1600/13%E8%BF%B7%E5%9C%92-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig3GH7SZogokmeZ6NlIC09nA4vmAAFLSQ90SvgK6UaxsORBc2BA0eRfD8OiN6cYmWuqogWWzgBsZYmZWSgFWBoH7Jm49hdFmF7jm-4aVrQkdtvkr_lHGlPJodbdOeBEm8yTDoLQdQIUo4x/s320/13%E8%BF%B7%E5%9C%92-2.jpg" /> </a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvkj7SLH7u5oUzId5h1P4D9iOnZQ36atFTNB2xkOGWzomOfnCeCaI5idJ3Y26BpLqvtQaLdw_GkMHk3G-9AoqL60lrRWVTcz2UsqwQS50XOq0gSrjgyNTfWeppixA9CSkFWqwEd5t9sJrJ/s1600/13%E8%BF%B7%E5%9C%92-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvkj7SLH7u5oUzId5h1P4D9iOnZQ36atFTNB2xkOGWzomOfnCeCaI5idJ3Y26BpLqvtQaLdw_GkMHk3G-9AoqL60lrRWVTcz2UsqwQS50XOq0gSrjgyNTfWeppixA9CSkFWqwEd5t9sJrJ/s320/13%E8%BF%B7%E5%9C%92-3.jpg" width="229" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX_PEz-JSRffS_5SnlOhoHZG1lgsRmeFxMOlQtLXCDkYXp3ybr2Znl2zy68PA5DYPuy-xGhmoTypsuOtgduRIscvaenD51zNF58n1gYfh3tsKk8CpC5B0mDb0vtFu-Cv2YWcb89dR_UsJV/s1600/13%E8%BF%B7%E5%9C%92-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX_PEz-JSRffS_5SnlOhoHZG1lgsRmeFxMOlQtLXCDkYXp3ybr2Znl2zy68PA5DYPuy-xGhmoTypsuOtgduRIscvaenD51zNF58n1gYfh3tsKk8CpC5B0mDb0vtFu-Cv2YWcb89dR_UsJV/s320/13%E8%BF%B7%E5%9C%92-1.jpg" width="227" /></a></div>
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<b><i>Lost Garden</i> (Taipei: Hong Fan Publishing House, 1991)</b></div>
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<b>(Taipei: Rye Field Publishing Co., 2006)</b></div>
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《迷園》(台北:洪範出版,1991)</div>
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(台北:麥田,2006)</div>
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This is a story of Zhu Yinghong and how she, as a woman weighed down by a mysteriously bizarre family burden, restores the family reputation; it depicts a woman in a painful journey of confronting self-identity crisis while being placed under the impact of love, lust and gender power struggle. </div>
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In writing the personal history of Zhu Yinghong and the family history of the Zhu family, <i>The Maze Garden</i> charts the modern history of Taiwan. In contrast to the modernity in metropolitan Taipei, the historical evolution of the Zhus’ living space serves as a key conducer linking the past, present and future, rendering the past memory and reality to appear in a repetitively continuous yet intermittent state.</div>
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---Quoted from <a href="http://tln.nmtl.gov.tw/ch/M10/nmtl_w1_m10_s1_c_1.aspx?sid=17" target="_blank">Taiwan Literature Net</a></div>
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Misty Courtyard (Miyuan) is Li Ang’s first novel, divided into three parts, with two chapters on each individual part and two sections on each chapter. Misty Courtyard (Miyuan) deals with the issue of love between men and women in modern Taiwan society. The heroine in the story was born in a big family in Lukang, and the story takes place in an old garden named “Hanyuan” that lasts for more than two hundred years. After going through the period of Japanese colonial rule, the rule of KMT government after the war, the 228 Incidents, and then finally the new era of industrial and commercial society, the heroine makes a conclusion by saving “Hanyuan” with passion and obsession. Many memorable and implied meanings can be found in the novel; for example, the author combined the characters with historical incidents in Taiwan, and made two different story lines—self positioning of women and the reconstruction of Taiwan history interweaved. After reading this love story, the readers can deeply understand the history and cultural background in Taiwan.</div>
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---Quoted from <a href="http://tln.nmtl.gov.tw/ch/M10/nmtl_w1_m10_s1_c_1.aspx?sid=77" target="_blank">Taiwan Literature Net</a></div>
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《迷園》凸顯了女性 觀點,但是,相較之下,女性位置、族群背景和台灣數百年被殖民經驗,在小說結構裡更有高度的互動關係。在《迷園》裡,兒時父親被捕失蹤的記憶,不僅成為女主角朱影紅一生不斷想要擺脫的夢魘,也不知不覺中影響到她的性別關係。在殖民高壓統治中,福佬女性往往眼見自己生命中有親密關係的男人(父親、丈夫、兒子、愛人)被象徵性去勢(邱貴芬1993),「重塑台灣男人的尊嚴」也因此往往不自覺地成為福佬女人擺脫歷史記憶負擔的手段,介入她性別關係的建構。朱影紅就是在背負這樣沈重的歷史記憶的包袱下,汲汲尋覓一個具有她想像中「男性氣概」的「台灣男人」。</div>
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透過這樣的小說敘述安排,《迷園》裡「女性的鄉土想像」不僅牽涉到國家認同、國家敘述建構和重新詮釋歷史的問題,也在這中間凸顯了福佬族群、女性觀點。</div>
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---邱貴芬 ,〈女性的「鄉土想像」:台灣當代鄉土女性小說初探〉,收錄於《仲介台灣•女人》,</div>
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台北:元尊,1997年,頁217-281。</div>
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過去的一、二十年裡,李昂是一個備受爭議的作家,爭議的中心,幾乎都環繞著性及與之有關的道德問題。在她最早的一些作品,如花季裡的幾個短篇,有關人的存在的荒謬性、叛逆、性與潛意識等,還可以從台灣現代主義文學浪潮,從影響她的心理分析和存在主義,找到觀念上的依據,因此它們的尖銳、背理和暴力,可以在象徵的國度,得到認可。到了鄉土文學論戰前後,隨著她作品中的現實題材的介入,在一般的道德批評,以及以社會關懷為取向的意識形態批評的觀點下,問題已經由象徵或個人夢魘,落實到具體的社會意義的層次,她的許多作品,因此遭到批判以至於否定。但在女性主義運動和女性主義批評逐漸受到重視的現階段,情形似乎有些改觀。根據女性寫作的特質,性與權力結構,中心與邊陲,以至於身體政治(the politics of the body)等觀點,李昂的作品似乎找到了安身立命之所。雖然問題仍是問題,尖銳性也依舊存在,但一切似乎總算獲得了正當性。</div>
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撇開可以賦予作品不同意義和評價的批評理論,僅從作品的探索對象和探索方法來看,李昂是個問題意識強烈的作家,這點應無疑義。</div>
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--節選自 施淑《兩岸文學論集》,</div>
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台北:新地,1997年,頁334-335。</div>
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作為一個文學現象,李昂的作品是值得注意和深思的,通過她早期小說中以前衛姿態出現的荒謬人物,到後來作品中,林林總總的都會男女,燈紅酒綠,我們看到了台灣在現代化過程中,精神和物質發展的一些方面,一些小知識層和新興的資產者、投機者的生活畫卷。在這個以慾望為前導的世界中,腐敗與新生、榮譽與恥辱、希望與絕望、壓迫與反抗、敗北與勝利,這些一向用來判定人的意義的觀念,它們的內涵與界限,都在性與金錢,這新的價值系統的指示器之前,變得曖昧難分,不清不楚。正是在這裡,李昂那把現實事件近乎照單全收的小說世界,她筆下的自覺或不自覺地追逐其中的、那被性與金錢還原成可以是任何人也可能查無其人的小說人物,讓我們毫無迴避餘地的面對現代台灣社會的生命與死亡的漩渦,它的現實與夢魘,它的新的與舊的罪惡,讓我們被激怒和被迫嚴肅及真誠地思考,關於人,關於生命的最基本的問題。</div>
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--施淑,〈迷園內外——評李昂的小說〉,《兩岸文學論集》,</div>
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台北:新地,1997年,P336。</div>
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the Li Ang archivehttp://www.blogger.com/profile/11663364943484257466noreply@blogger.com