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- 저자 : 하아문 ( He Ya Wen ) (검색결과 4 건)
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하아문 ( He Ya Wen ) 한국중국어문학회 2018 中國文學 Vol.97 No.-
대만 ‘현장 서사(工地書寫)’가 최근 2년 사이에 일어나, 본문은 임립청, 증문창의 작품을 예로 들며, 그 차이를 비교하여, 논픽션 작품에서의 서정 주체를 탐구하였다. 임립청은 현장 주임으로 공사 현장의 일을 응시하고 있는데, 그 위치는 노동자이자 또한 노동자가 아닌 특수한 시야로 현장과 노동자들이 대만 사회에서 무시당하고 차별을 받는 것, 그리고 그중의 계급과 권력을 밝힌다. 철공 사부로서 인생역정, 가치관, 직업수칙을 스스로 밝힌 증문창은 자서전에 가까운 모습을 보였다. 서로 대조하여 대만 건설현장에서 쓰고 있는 서정의 주체인진(Authenticity)과 성(Sincerity)을 보여준다. The ‘construction site writing(工地書寫)’ has been popular in the past two years in Taiwan. This article takes Lin Li-Ching (林立靑) and Tseng Wen-chang (曾文昌)’s works as examples to explore the lyrical subject in non-fiction writing by comparing their similarities and differences. Lin, as the director of various construction works, puts his eyes on the people on the sites. As he holds double identities both as a worker and supervisor, he develops a special vision to reflect on the neglect and discrimination on construction workers in Taiwan society, as well as the issues of class and power implied. As a blacksmith, Tseng self-describes his life experiences, values, and professional codes in his book. The appearance is almost an autobiography. By contrasting these two authors, we can see the sincerity and authenticity of the lyrical subject in Taiwan’s construction site writing.
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何雅雯(He, Ya-Wen) 중국문화연구학회 2018 중국문화연구 Vol.0 No.42
The definition of genres in Taiwan literature has undergone significant change in recent years. The transformation from “prose” to “non-fiction writing” manifests not only the confirmation of authenticity in the content, but also the innovation of expression in literary form. This paper discusses the emerging “Construction Site Writing” in Non-fiction writing and analyzes the formal expression of Lin Li-Ching (林立青) and Tseng Wen-Chang (曾文昌)"s works: Lin inherits the narrative skills from realistic literature and expresses the reality on construction sites through dialogue, vocabulary, dramatic structure, ending with negative sentences; Tseng represents his own construction site experience through a consistent narrator “I”, the chronological structure, and the use of words which are to make readers at the scene. Through the investigation of these two authors, it can be known that the focus of the Construction Site Writing should not be the issue of qualification of its writers, but rather, we should focus on how literary form is used to reflect the reality on the construction sites and how it presents the life situation on the sites.
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하아문 ( He Ya-wen ) 한국중국어문학회 2014 中國文學 Vol.78 No.-
The term `Youth-Writing` means writing about life and feelings of one`s senior-high stage. Ji Rang Ge, Mi Lu De Shi and some pieces of Di Xia Xiang Chou Lan Diao not only corresponded to it, but also appeared some different distinguishing features and emotional appeals. The same and difference were according to all those authors` life of course. However, this paper focused on the narrative texts to observed how did they construct their present or absent youth-viewpoints through the time discourse and how did they determine the interactions between personal and collective life by describing events. In addition, the contrast between now and past selves could reveal different lyric subjects.
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何雅雯 ( He Ya Wen ) 한국중국학회 2021 중국학보 Vol.95 No.-
黎智英帶領的壹傳媒, 以≪壹週刊≫領軍, 衝擊臺灣固有媒體生態, 評價兩極, 然而由董成瑜領軍的人物組, 卻在扎實的人物訪談與寫作中, 為新聞採訪的敘事轉向開出新途。本文由敘事傳播角度切入, 分析董成瑜與房慧真在≪壹週刊≫的人物寫作。董成瑜首先為人物寫作奠定規範:採訪者與受訪者互為主體, 透過場景、言語、行動刻畫戲劇場面、掌握人物核心特質、並藉個人寫時代。房慧真在此架構中, 反覆探究記者角色定位:從旁觀到參與, 重構他人生命故事本身, 就是社會介入。因此, 房慧真既延續董成瑜所奠定的範式, 亦透過採訪者與受訪者的閱讀行為共享生命經驗。在≪壹週刊≫這樣善惡價值難辨的媒體中, 董成瑜、房慧真共同為新聞採訪與人物寫作開啟的新頁, 更進一步在≪壹週刊≫結束營運之後, 仍然透過新興媒體(如≪報導者≫等)繼續擴散、傳播, 改寫臺灣媒體格局。媒體在社會上曾經、正在、以及即將擔負的角色, 新聞報導、紀實敘事的變革發展, 不但是媒體的、文學的議題, 也將是社會的、歷史的議題。 Jimmy Lai Chee-ying (黎智英) and his Next Digital Ltd., with their first bombshell “Next Magazine”, drop a great impact on Taiwan's inherent media environment. The publication arouses polarized receptions. However, its profile division, led by Dong Cheng-yu (董成瑜), has opened up a new path for the narrative turn of news coverage with their solid interviews and writings. From the perspective of narrative communication, this essay analyzes the profile writing of Dong Cheng-yu and Fang Hui-Chen (房慧真) in “Next Magazine”. Dong first lays down the norms of profile writing for the magazine: interviewer and interviewee interacting with each other, the portrayal of dramatic spectacles through scenes, dialogues, and actions, grasping the core characteristics of the characters, thus writing their own times. Under this framework, Fang Hui-Chen, Dong's subordinate, scrutinizes the role of journalists back and forth: from watching to participating, reconstructing the story of other people's lives is in fact social intervention. Therefore, Fang’s writing not only continues the paradigm that Dong establishes but also shares life experiences through the reading behavior of interviewer and interviewee. In a medium such as “Next Magazine” with indistinguishable values, Dong and Fang jointly open up a new path for news coverage and profile writing. Even after the end of the operation of “Next Magazine”, their influence continues to expand and spread through other new media (such as “The Reporter”, etc.), thus rewriting Taiwan's media landscape. The role that media have taken, as well as the change and development of news reporting and non-fiction writing, not only will be of media and literary issues, but also social and historical ones.
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