Drawing was employed then as a way of describing historic narratives (fact and folklore) through the convenience of a drawn symbol or character. Findings show that the island’s peculiar queerness hinges on translation proper and manifold internal/external forces as a whole to make it a readily accessible cross-cultural commodity.Ĭommunicating thoughts, facts and narratives through visual devices such as allegory or symbolism was fundamental to early map making and this remains the case with contemporary illustration. The nexus of this essay is to identify the “worlding” power, operation, and problems arising from translations that constitute the landscape of Taiwanese queer fiction in the 1990s. Adopting a revised “International Recognition Indicators” model, this article outlines how four Taiwanese queer novels have transformed from local stardom to transnational visibility by examining how they have been critiqued and received by global readers. This article first looks at the historical context of Taiwan in the 1990s that favored the production of queer texts. This paper is an attempt to testify the validity of a remodeled criteria in light of four Taiwan-made queer novels in the 1990s in transnational circulation. Intellectual pluralism and homosexual visibility began to flourish during this remarkable decade, while the concept of queer emerged on the island’s academic and literary landscapes as a response to the globalized queerness. 1990s witnessed the liberation of previously disregarded voices―such as those of homosexuals in Taiwan.
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