The Comparative Studies In The Novels Written By The Authors Living Abroad In The 1950s And 1960s And The New Emigrant Authors In The 1980s And 1990s

The Authors Traveling Abroad in the 1950s and 1960s and the New Emigrant Authors in the 1980s and 1990s are two big writer groups in the 20th century except the writers who were studies abroad in the May fourth Movement period. The two groups differed in that they lived abroad, which offered different life experiences and horizons leading to exotic look in their writing. One of the purposes of this dissertation is to evaluate the position and their influences of the two groups in Chinese literature history by an analysis of the novel texts and the society within. Another purpose is to investigate the disparities and similarities of the two groups and foretell the development of emigrant literature on the premise of the fact that they shared some similarities.Many scholars came to realize the values of the two groups, and have made some achievements. However, there are none of the comparative studies except the text studies, the author research, or the classification studies. Therefore, it is necessary to do a comparative study of the two groups on the basis of the achievements of others.This paper is divided into six parts. The introduction is about the premise and the start of the reasoning. The body part that consists of four chapters mainly concerns the comparative studies from four points of view. And the conclusion points the literary position of the two groups and the significance of the research.The introduction defined the two groups and the composition of them. The creation style of the authors traveling abroad was greatly different from that by the mainland writers. Although they continued the tradition of the human's literature of May Fourth New Literature, their thoughts of art and writing skills differed obviously with that of May Fourth New Literature. They applied western Modernism such as Stream of Consciousness, Sub-consciousness, mysticism, existentialism into their writing, and created some works of modernism with high quality. These works changed the status quo that the literature in Mainland neglected the writing art since 1949. Most of the New Emigrant authors were men of the time in the 1980s. Their experimental writing of modernism became a sensation, which was similar to that in the 1950s and 1960s. What's more, these two groups shared some sameness that they lived the multiple cultures between West and East; new status, new vision and new life gave them their works new blood resulted in exotic thoughts, feelings and narrative and rhetoric. The similar spirit and life surroundings presented the premise of comparison.The first chapter concerns the context and the contents of the two groups from the points of view between homeland and foreign countries. The modern novels which were published in the Modern Literature by the authors traveling abroad from Taiwan in the 1950s and 1960s were the second experimental upsurge after May Fourth. This paper made an analysis of the writing art of Spirit Analysis, Existentialism, and the Stream of Consciousness in the writing by Bai Xian-yong, Ouyang Zi, and Cong Su etc. and concluded that their creations were latently complementary to those in the mainland during the same period. The novels by Liu Suo-la, Liu Xi-hong etc. among New Emigrant authors from Mainland were the continuation of modern novels of Chinese literature in twenty century. Though the scale was not as large as the authors traveling abroad in the 1950s and 1960s, the novel experiment reflected the urgent need to study from others of the time. With the development of the two groups, their novels emerged a tendency to tradition, which restored Chinese "poetic" and the use of traditional culture.The second chapter discussed the development and changes of the strangers' surroundings from cultural anthropology and tried to reveal the specific performances and the underlying reasons of this change. The writers traveling abroad in the 1950s and 1960s expressed mainly the perplexity of the early emigrants and the loss of beliefs, and depicted the survival plight, the culture shocks and conflicts between different cultures, as well as strong homesickness. Due to the globalization and modern medium, the New Emigrant authors did not lost into the homesickness. The open horizon and the consumer ideology by the globalization had a deep influence to the social belonging; the residence of the overseas Chinese had changed for better; these two have lessened their homesickness, and caused different cultural understandings for the emigration and wandering. These were embodied in the human nature depiction and the reveal and reconsideration of cultural conflicts. The writers of both groups shared the wandering and depending feelings which were reflected in their works that told their times and continuation. Their writing not only inherited the subject of homesickness in the ancient Chinese literature and modern novels, but also told the feelings and reflections in the cultural conflicts between West and East, which added new direction and merged into the world emigrant writing.The third chapter discussed the special influence by their experience abroad and revealed the unique significance of those two types of creations in the composition of the 20^th century literature and contemporary literature by way of the kinds of touching China of the two groups. The writers traveling abroad in the 1950s had no experience of new China because of the dual exile and America's block policy. The loneliness and homesickness urged them to get more feeling contacts and dependence, thus recalling homeland in the memory of youth was the only way for them to touch China. The globalization and consumer ideology reduced the homesickness of the New Emigrant writers who emigrated from mainland. The subject of their novels were the exploration of human nature. Even so, the memories of the homeland could not be forgotten, which became the emotions, aesthetics or sub-consciousness, and shadowed as youth and homeland in their novels. Except the warm homesickness, the writers also remembered the miseries and disasters. Therefore, the other type of touching China for the two groups was the depiction of disasters in the homeland. Because the writers traveling abroad in the 1950s and 1960s were far from their homeland, their works carried their independence then and there. The exploration of human nature by the New Emigrant writers was deep and unique.The fourth chapter compared two woman writer groups traveling abroad from the point of view of feminism and case study, and evaluated their position as woman sayings among Chinese literature in the 20^th century. The writers traveling abroad in the 1950s and 1960s concentrated on the woman sayings, filled a void for mainland, and pointed to the future tendency. They did not idealized woman, nor provoked the war between man and woman like the feminism writers popular in the mainland in the 1990s. They focused on the surroundings and woman themselves to depict the twists and turns of woman liberation including feudal forces of oppression, the shackles of traditional ideology, family values, as well as female character psychological characteristics, and other factors. They also depicted the pursuing of woman to freedom and the bold saying of female sexual desire, showing the calm and imposing sharp perspective and the serious depth of thought. This chapter analyzed the woman saying by the writers traveling abroad in the 1950s and 1960s such as Yu Li-hua whose heroines wandering in the tradition and family, Ouyang Zi whose psychological change of women, and Bai Xian-yong whose woman world full of past and present, love and hatred. The woman saying by the New Emigrant writers in the 1980s and 1990s was among the tide of feminism literature, therefore it echoed to the Feminism and transcendence. The works by Hong Ying vividly depicted the war between man and woman and its ending. The body writing of woman by the latter group was imbued with more cultural factors thanks to the cultural communications between West and East, which was open to expansion of the body writing popular in mainland. When most of the latter group was weak in their body writing, Yan Ge-ling remedied the defect timely by the rich woman saying. She created "Mother of the land", a pure and generous image; and praised the love and nobility of women. At the same time of passionate narrative, she avoided on purpose the women's individual writing and whisper writing, which was an important contribution to woman writing.The Conclusion part pointed out the position of the writers traveling abroad in the 1950s and 1960s and the New Emigrant writers in the 1980s and 1990s in Chinese literature history: the former absented itself from Chinese literature history for a long time, which was the latent complementary; the latter emigrated from mainland and emerged in the literary tradition of mainland, and their contemporary sayings after emigration were one of the indivisible part of Chinese literature. The novel creation of both groups reflected the consistency and continuation. As an earlier emigration writer group, the narrow "foreign students" life of the writers traveling abroad in the 1950s and 1960s lead to the narrow and plane impasse of literary creation with the foreign students' color. Although they made some breakthrough, their novels presented an inevitably initial stage compared to the latter group. The latter group inherited some subjects written by the former, but their literary horizon was wider due to their late emigration; and their exploration into human nature was deeper and diverse with the reflection of individuality. No doubt, there is still much more room for them to perfect, however, a bright future of the novel creations by the New Emigrant writers in the 1980s and 1990s could be expected.