On August 8, 2009, Typhoon Morakot hit Taiwan, causing great damage to the island, especially the Southern Taiwan. A couple of days later, the term “August 8 flood disaster” began to be used to name this particular disaster. It reminded us of the “August 7 flood disaster” which occurred fifty years ago. In just a few days, the “August 8 flood disaster” almost becomes a historical event having the same weight as other natural or historical disasters, such as the “228 event,” “921 earthquake,” or “August 7 flood disaster.” The disaster, however, was strangely familiar to us. In Tsai Ming-liang’s 1998 film, The Hole, we found uncanny correspondences between fiction and reality, the past work and present situation. It seemed that the “real” and the “fictional” disaster cross-illuminated each other. This paper, therefore, attempts to reread The Hole in light of disaster.

     This paper is divided into four parts. The first part argues how the disaster in The Hole should be treated as a real, intrinsic part of Taiwan, rather than a mere fantasy. In the second part, I examine the peculiarity of the film’s spatial arrangement. In The Hole, the relation between the apartment building and the city at large is essentially a relation of ban, a relation in which inclusion and exclusion, inside and outside have become indistinguishable. The extraordinary state or space the characters live in can be well elucidated in terms of Giorgio Agamben’s notion of the “state of exception.” The third section is an exploration of the weird, enigmatic characters in the film. Inspired by both N. Katherine Hayles’s posthuman studies and Agamben’s biopolitical theory, I argue how these characters are living in a kind of “bare life.” In such a state, the distinction between humans and animals disappears. The Hole, however, is far from being a desperate film. In the final section, therefore, I attempt to bestow this “bare life” a certain potential for redemption. I would read the song and dance numbers not as fantasy but as allegory of the danger and pleasure of our posthuman present. Right in the scenes of catastrophe, we seem to see hope and redemption.

In earlier years, mystery literature was viewed as a literary genre introduced from non-native publishing market. However, since Japan imported detective genre into Taiwan, the so-called mystery literature of Taiwan has taken exotic detective novels as a role model, translating this mode of writing into our local writing style. This paper tries to uncover a corresponding relationship between “body-order” and “order of literary form” as my primary analytic concept. Drawing upon this new point of view of mystery novel research, this paper utilizes the novel God’s Forbidden Ground (上帝禁區) by Taiwan author Leng-yen (冷言) to analyze the form of body displacement and showcase how this mystery novel presents a linguistic aesthetic based on bodily ground from diverting Japanese author Souji Shimada’s Tokyo Zodiac Murders (占星術殺人魔法).
At the same time, I explore the novel as a type of popular literature, which stands for and borrows the original form from Japan, adopting the approach of cultural translation in the process of its localization. And, through the process, I investigate how it could satisfy the need of the literary order of mystery novels by narrating practice of body-order. I further inquire into how the agency of a translator could makes use of body form without regard of metaphors of nation and history, and how this process continues the classical aesthetic genre and meaning of modernity. Furthermore, the writing intention of Leng-yen might cause the inner conflict and fundamental crisis of the “order of literary form,” which is exactly what he has tried to preserve.

由於解嚴的衝撞，因運文學生態丕變、藉文學解讀歷史的立場不斷挪移、作家創作素材的改換等等，鄉土書寫呈現了另一番的發展與變貌，論者因而名之為「新鄉土」或「後鄉土」，用以概括九０年代以降台灣鄉土小說的總體現象。從宏觀照徹而言，「代」是一個關乎時間分類的概念，從中分衍出「時代」與「世代」的觀念。「時變與創化」的流風所及，鄉土書寫的發展確然包括了新舊的「文學世代屬性」；就微觀考察而論，除了探討「世代性」外，也可沿用「班底」（鄉土作家群）概念，總攬作家類群所表現創作美學，而形塑獨特的文學景觀。循此，新／後鄉土小說的「新」與「後」，遂可指陳九０年代之「後」的鄉土小說及其展現的創作美學之「新」。

      九０年代以降所描寫「鄉土體驗」的文學意義，以及描寫「鄉土意義」的文學體驗，均可說明「鄉土」書寫與「鄉土」語境的嬗變攸關。本文的論述重點，在於探勘新／後鄉土於承續與衍異中的書寫新貌，因此，「鄉土」不僅將成為本論文的研究對象，也將作為一個新的理論視角，嵌入台灣文學史之中，藉資考察作家所含藏視野與策略的書寫現象。所採取的研究方法，也擬借鑑文學社會學，以此作為鄉土文學研究的觀察視域，以期在新／後鄉土的形成因素分析及其表現形態的概括中展開論述，形成對九○年代以降鄉土小說的觀察與解讀。而作為書寫者想像或經驗透視中的鄉土，也必然附著於文學地理景觀的「空間」意識，地方與空間相互交錯的定義，因而作為論述的線索與憑藉；再則既稱為「新」或「後」，即標誌了一種斷裂或一個階段的變化性書寫特質，當新／後鄉土書寫中反復出現「進步」與「異化」的時代議題時，現代美學中諸如頹廢、怪誕等概念，自也是重要的論述取徑。

After the lifting of the Martial Law, and the corresponding transformation of literature environment, the constant transition of historical standpoint as interpreted by literature, and the change of writers’ writing materials, have resulted in the development and changes of native literature. Such a transformation is called “neo-navitism” or “post-navitism” to describe broadly the overall phenomenon of Taiwanese native literatures after the 90s.

     Both of the literature meanings of the writings describing “nativist experiences” and the literature experiences of writings describing “nativist meaning” after the 90s could explain that the transformation of the term “nativism” is relevant to the writings of “nativism.” This paper investigates the new appearance of neo-navitism/ post-navitism writing together with its succession and transformation. “Navitism” is not only the research subject of this thesis but also viewed as a viewpoint of the new theory, which is embedded into the history of Taiwanese native literature to explore writers’ field of vision and writing styles. This paper adopts the viewpoints from sociology of literature as research methods to explore the studies of navitist literature in order to discuss the analyses of formation factors and expression forms of neo-nativism and post-nativism, and form the observation and interpretation of navitist novels after the nineties. The nativism that writers had imagined and experienced would necessarily have been accompanied with the ideology of “space” from the geographical landscape of literature. In addition, the name of “neo” or “post” suggests that writing properties have undergone the change of a gap or a stage. When issues, such as “evolution” and “dissimilation,” are repeatedly seen in the writings of neo/post navitism, the concepts of modern aesthetics such as decadence and fantasticism could be important approaches for discussing the writings of navitist literature.