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Chen Yingzhen

(Redirected from Chen Ying-chen)
In this Chinese name, the family name is Chen.

Chen Yingzhen (Chinese: 陳映真; 8 November 1937 – 22 November 2016) was a Taiwanese author. Chen is also notable for having served a prison sentence for "subversive activity" between 1968 and 1973. He was active as writer from the late 1950s until his death in 2016.

Chen Yingzhen
Native name
陳映真
BornChen Yongshan (陳永善)
(1937-11-08)8 November 1937
Shinchiku Prefecture, Japanese Taiwan
Died22 November 2016(2016-11-22) (aged 79)
Beijing, China
Occupationauthor
LanguageChinese, English, Japanese
NationalityTaiwanese
Alma materCheng Kung Senior High School
Tamkang University
Period1959–2016
Genreprose, novel
Subjectleft-wing politics, humanitarianism, Marxism, modernism
Literary movementTaiwan Nativist Literature
Spouse
陳麗娜
​
(m. 1977)​

The Collected Works of Chen Yingzhen is 15 volumes long, and was published in 1988.[1] Some of his stories were also included in Lucien Miller's Exiles at Home.[2]

Biography

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Early Life

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Chen Yingzhen was born Chen Yongshan in northern Taiwan,[3][4] the son of a devout Christian minister.[5] Despite this, he never was a Christian himself while growing up.[5] He was raised in what became Zhunan, Miaoli, with a twin brother, who died in 1946.[6] Zhunan township, Taiwan, at the time, was experiencing an uneasy period as the end of the Japanese colonial rule and the beginning of the Republic of China administration was nearing. This transition had a wide influence on his early worldview and his literary aspiration as he came of age and grappled with the complexities of Taiwanese identity and nationalism[7]. The socio-political turmoil of post-war Taiwan established in him a sense of urgency to address the social realities around him through literature[1]. Stemming from a family that valued education highly, Chen developed a strong love for literature at a tender age. He had experienced both Chinese classical texts and Western literary influences, which helped him to develop a certain narrative voice combining these diverse influences in his peculiar way. Growing up in a poor family, with cultural transformation at every turn, provided much of the foundation for the core themes of resilience and identity in his later works. His interest in writing was motivated by the cultural movements of the 1960s when he was growing up. As a young adult, Chen participated in Taiwan's vibrant intellectual movements among youth, an era marked by nascent cultural identity and social awareness[1][7]. His early writings reflected the struggles and idealism of his generation while embodying the tension brought about by traditional values and modern influences[7].

Midlife

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In his mid-years, Chen Yingzhen harnessed family life without abandoning the development of his literature. As a husband and father, the insight he had into depicting wider social issues through close family interaction blessed his narrative style [8]. Works like "My Father" by Chen show the complexity of family relationships and the expectations that come with them, proving how personal narratives can too function as a critique of societal norms[8]. In this interplay of loyalty and filial piety, Chen's writings took center stage in values culturally expected of Taiwanese and Chinese society. As such, Chen himself talked much about familial obligations which, when scrutinized further, reveal a struggle with emotional conflict in desiring one's wants within the constraints of cultural expectations. "Life and Death" is an essay whereby Chen extends these themes to discuss some of the universal questions of existence and legacy[1]. By braiding personal experiences into societal critique, Chen therefore weaved a rich tapestry of a story that resonated with readers. His works reflect not only his life experience but also that of the collective struggles of the post-war generation in Taiwan, particularly regarding cultural and political transition. Therefore, he was able to communicate with audiences very profoundly by taking his audiences to reflect upon their family experience and difficulties in society [1][7].

Late Life

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In his later years, Chen Yingzhen was a writer who remained contemporary with the issues of his current surroundings and resorted to changes in narrative style to make subtle social and political commentary. The recognition of the situation in the world today, regarding the environment and social justice, concerned Chen severely, as can be seen through his later works[8]. These environmental themes continued to salience in his work, perhaps as evidence of a growing concern for the connectedness between human experience and ecological reality. Commonly, his work stirs readers into the contemplation of their stance in larger discussions around societal and environmental responsibility, reinforcing literature's role that might be played in spurring one into consciousness and action. Later in life, Chen did take up philosophical investigations into life and death. Such contemplation of these themes can be seen in essays like "Life and Death," as Chen proves to be quite contemplative in his consideration of the human experience through the discussion of existential questions with which readers from any culture could identify[8]. It is through this introspective nature that he has managed to remain an eternally relevant literary personality, encouraging his readers to question their experiences and values[8]. Moreover, Chen Yingzhen's biography underlines his critical career path in digging deeper into questions of identity, family, and social problems through his writings[9]. His journey from a post-war Taiwanese child to a distinguished literary figure epitomizes how the interplay between personal experiences and greater cultural narratives provides insight into the development of Taiwanese society with its ongoing challenges[9][1]. Chen was arrested in 1968 by the Kuomintang for "leading procommunist activities", and was imprisoned until 1973.[5] Chen was again imprisoned in 1979, shortly before the Kaohsiung Incident.[3] He died in Beijing on 22 November 2016 at the age of 79 following a long illness.[4]

Style

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Some critics have seen Chen's work as featuring important moral dimensions while lacking technical proficiency. For example, Joseph S. M. Lau said of Chen, "his output is relatively small and his style is at times embarrassing, yet he is a very important writer... Almost alone among his contemporaries, he addresses himself to some of the most sensitive problems of his time."[10]

Thought

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Chen was a supporter of the notion of a unifying Chinese national identity in Taiwan, as opposed to "nativist" writers like Zhang Liangze [zh], who support the development of a native Taiwanese consciousness.[11] Chen contributed to several journals as an editor and writer,[3][2] and was "regarded as Taiwan's utmost representative leftist intellectual."[12] Jeffrey C. Kinkley noted in 1990 that Chen was "considered by many Chinese readers and critics in Taiwan, Hong Kong, and overseas to be Taiwan's greatest author."[1]

Notable works:

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"My Father"

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In "My Father," Chen Yingzhen reflects on his complicated relationship with his father and discusses themes such as loyalty, expectation, and the generational divide[13]. “My Father” is an essay on a deeply personal account that quite easily resonates with the reader and invites them to reflect upon the weight of familial obligations within Taiwanese culture. Chen's case demonstrates that this family dynamics is determined by more general social influences and reveals how painfully stressful the psychological tension is in upholding traditional values within modern society[7][13]. Chen uses this work as one way of commenting on the pressures placed upon individuals by family expectations and questions what loyalty implies in today's world.

"Life and Death"

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In the work "Life and Death," Chen raises basic existential questions about mortality and the human condition. The work reflects personal experiences with loss and urges one to confront their perceptions about life and death. Chen, in his introspective writing style, comes across as vulnerable, daring readers to consider the fragile threads of existence and the importance of human connectedness[14]. It is not only personal but is also a social commentary on how life and death are considered by society; hence, individual experiences become shaped, focusing on necessary compassion and understanding in such universal themes[1][7][9].

"Literary Reportage: When Red Stars Fall into Qigulin Mountains"

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In "Literary Reportage: When Red Stars Fall into Qigulin Mountains," Chen adopts the journalistic way of discussing historical changes that took place in individual lives. It is representative of both the literary craftsmanship and the factual narrative by Chen in conveying the emotional weight of the historical trauma of Taiwan[7][8]. By narrowing his essays to personal stories, he humanizes those often abstract discussions on political upheaval and social change, making them more relatable to readers. This work underlines the role of narration in figuring out history and its effects on society[9].

"What the 'Third World' Means to Me"

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In "What the 'Third World' Means to Me," Chen challenges the reductionist approaches to understanding the term "Third World." He presents his interpretation, signaling a "multivocal" self amid such a construction of identity[15]. By addressing the interrelatedness of personal and political identities, Chen urges his readers to reassess their assumptions regarding development and cultural representation[1]. As such, the work is not a critical polemic on postcolonial discourse but rather a display of diverse experiences that comprise collective identities in a globalized world[9].

"Loyalty and Filiality Park"

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"Loyalty and Filiality Park" is a work through which Chen emphasizes the importance of the cultural significance that these values have held within Taiwanese society[16][7]. He believes these mainstream notions of loyalty and filial piety come into conflict with individual desires and modern aspirations. Therefore, Chen explores such values in a way to critique societal expectations that, in themselves, may lead to personal turmoil and conflict. This work calls upon the readers to reflect on their relationships with family and society as it questions traditional values' relevance in present contexts[1][9].

The Noodle Booth

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In The Noodle Booth, Chen Yingzhen proposes a mix of personal and political dynamics of the society and culture of Taiwan. In The Noodle Booth, a story of a noodle stall, the focal characters represent the society of Taiwan and their lives portrayed in the social background of historical transformations. From customers, the main character interacts with, Chen masterfully introduces aspects of loneliness, longing, and perseverance, which adequately describe Taiwanese society[7]. The noodle booth itself stands for not only food but also a place for connections, where characters meet. Having focused on the theme of each day’s routine, the story makes the readers understand the experiences of the characters and their drive. Chen gave the characters human emotions because he wanted to emphasize the values of the relationship that was built around the noodle stall in the middle of the storm, demonstrating that people need company during hard times[17]. Mainly positioned in a noodle booth atmosphere, the readers will be touched extensively by the feeling of belonging or rejection in this world. These relatable traits make the story impactful to the common people of Taiwan[7].

The Generals’ clan

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The Generals’ Clan is another story from the same author, Chen Yingzhen through which the author tries to pose a variety of questions concerning military force as well as the origin of individuals and the nation. It proposes a voice for an audience concerned with that context and opens a way to reflect on privileges, responsibilities, or even the ethical choices of those involved in the structures of military families. The authorities and common people in the ‘military saga’ of The Generals’ Clan are caught in the war between family and state, fantasies and realities, love, and conscience. The tensions presented by Chen depict the estimated mental strain of an individual formed by lineage as well as the pressure possessed by social obligations [7]. In this respect, this issue of identity and belonging is in tune with what may be observed in the rest of the text, which is reinforced by the theme of the private individual and social history. In addition, it faces the problem of military dictatorship in Taiwan, which makes readers reflect on other issues related to power that can change people’s fates[18]. Placing the story into such a historical context, Chen opens up a space for thinking about the historical genealogy in today’s times and, thereby, embraces his position as one of the major Taiwanese writers[19].

Contribution:

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Colleagues:

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Chen Yingzhen's influence on Taiwanese literature extends deep into his exchange and interaction with other writers and scholars; many acknowledge that his work has stirred critical thinking among literary figures, creating a community through writings dedicated to the identity and culture of Taiwan. For instance, the Chen dedicated forum in the journal, Frontiers of Literary Studies. in China presents a collaborative effort by scholars in their engagement with his literary contributions and underscores Chen as a key figure in contemporary Taiwanese literature[19]. This forum underlines that his colleagues look upon his writings, not as isolated creations, but as part of a large discursive field shaping Taiwanese cultural and identity awareness[9]. Furthermore, according to Zheng Huan, Chen's impact is felt in the younger generation of writers who also try to express concerns about identity and social justice in their own writing[7].

Xia Chao (夏朝)

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Xia Chao, the literary magazine edited by Chen Yingzhen, became a dominant cultural phenomenon in Taiwan in the 1980s and 1990s. Editorial Chen’s magazine worked to influence many authorities and inform the people of important taboos in Taiwanese society[20]. One of Chen’s purposes in working with Xia Chao was to establish an opportunity where writers could embrace their experiences thoroughly and provoke informative discourses on issues of ethnicity, justice, and cultural background. The magazine urged authors to explore stories of self, focusing on the extraordinary routine in Taiwan, a message that met with appreciation from the audience in Taiwan because it reflected their own experiences[21]. According to Chen, the primary focus should be put on the literature as a way of understanding existential questions[8]. Using Chen’s philosophy, Xia Chao published many works that provoked and responded to the challenges or questions of society and became an important arena for artists’ opinions and views[21]. Apart from these works, the magazine also presented essays and critiques that encouraged readers to think of their functions in society and the contexts within which they lived. With a focus on non-superficial feelings and intentions, Xia Chao has formed a community of like-minded people who read and write, and more importantly who are all connected by empathy[20]. Chen’s efforts towards helping writers develop have helped many shape their style, and therefore the literary culture that Chen created helped shape contemporary Taiwanese literature[8]

RenJian (人间)

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The Renjian magazine which was co-established by Chen Yingzhen was critical in the progress of social discussion and literary disorders in Taiwan. Renjian was started in the 1980s as an attempt to discuss important problems of society like human rights, democracy, and social justice; it was essential for writers and journalists to write on these issues. Chen’s editorial content was essential in the transformation of the magazine’s direction towards real-life issues and experiences of locals as well as in urging writers to publish materials that were relevant to Taiwanese society[20]. Renjian was established with the one goal of advocating for the ‘voiceless’. Chen insisted that literature should depict actual life to attract attention to the harsh fate of those who do not have any opportunities to be heard in an oppressive society. Depictions of social inequality, political oppression, and the struggles for personal liberties, helped spread the essence of dissent and progressive thoughts found in the magazine’s content, eventually radicalizing a social movement across Taiwan. Besides understanding human suffering, Renjian also taught readers the importance of the roles and responsibilities of the public in society. Furthermore, Renjian supported co-operatives of writers with the common purpose of championing change through writing. Chen’s editorial vision was therefore used in helping to establish Renjian as a harbinger of change in Taiwanese literature as a demonstration of the power of narrative for change[8]. This magazine’s tradition is continued for the reason that it spurred generations of writers to present the concerns of current society as well as breakthrough them by talent and determination and has formed the culture and political systems of Taiwan[21].

Research advancements:

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The literary and scholarly output by Chen Yingzhen has greatly enriched discussions on critical themes such as identity, history, and cultural representation in Taiwan, reflecting his deep engagement with the dimensions of life, both personal and political. Most of his literature challenges the dominant discourses and gives a fine insight that furthers an advanced comprehension of Taiwanese culture and its identity. For example, in his writing of the "Third World," Chen writes in favor of the reductionism of such labeling by noting the various heterogeneities in cultural identity[15]. As he positions himself within broader geopolitical texts, Chen does so with the expressed intention of encouraging readers to interrogate their ingrained discourses of development and cultural identity themselves[7]. Furthermore, Chen's art of weaving together the personal narrative with the broader one of cultural critique underlines the importance of his work in today's literary studies with instances such as his essays on family burdens and cultural values, one is urged to reconsider how such traditional notions mold an individual identity in today's Taiwanese society[8]. This research enriches not only the discussion of cultural identity but also encourages interdisciplinarity, which links literature to sociology and anthropology to compel scholars to investigate how literature reflects and shapes social realities[1]. His work acts as a bridge between literary studies and social critique, opening avenues for further research into how cultural narratives influence societal norms. Moreover, his approach to narration has served as a model for the genre of fiction and non-fiction, particularly in Taiwanese literature[8]. With his innovative methods of pursuing literary reportage, it becomes possible to interactively engage with the historical event in a personal manner as readers might share the emotional experience of history through particular personal stories[8]. This is arguably the case with Chen employing a journalistic style, the role of the personal perspective in making sense of complicated historical phenomena, and how literature can act as a facilitator in chronicling and interpreting social change[7]. This style of writing makes for an important methodological contribution to writing, inspiring a whole new generation of writers and researchers into similar strategies that lend to further inquiry into how narrative forms might convey the social and political[1]. Chen's work has also reverberated in discussions of postcolonial studies and globalization. His collected essays develop critical insights into local and global identity intersections that press scholars to reconsider how global processes configure individual experiences in Taiwan[9]. Chen places his narratives within an extended frame of globalization and invites another look at the ways cultural identity is assembled and represented in today's literature[17]. It is from this centrifugal attention to the problems of identity in today's globalized world that not only would the debate in postcolonial studies be enriched, but it would also challenge the researchers themselves to meet with the multivarious face of cultural representation in today's interconnecting society. Chen’s work counter-balances the dominant narratives with nuance, provokes interdisciplinary approaches, and instills in our perceptions of the complex cultural identity during the era of globalization[9][17]. Through his narrative methods and socio-political comments, Chen positioned himself to be a figure who shaped contemporary discussions of literature and society[1][7][9][17]. An interdisciplinary approach of this nature not only adds depth to his stories but also shapes him into a versatile scholar with the ability to engage in complex global challenges through many different professional and cultural lenses.

Impact

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Social impact:

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From the influential literary work of Chen Yingzhen, Taiwanese society has been immensely affected, especially in matters concerning identity and cultural expression. Chen's works often trace the intricacy of social relationships and how personal experiences are formed concerning greater societal forces. With works like "What the 'Third World' Means to Me," Chen rejected the dominant stereotype at the time and then called upon readers for introspection on their cultural identity in the context of globalization to garner more empathy and understanding among different audiences[15]. By articulating the struggles of people burdened by the weight of expectations from society, Chen makes readers think more critically about identity and relationships and develops an avenue toward discussing social cohesion and inclusivity in society. Chen's stories often serves as a contribution to Taiwan's policy debates on social cohesion and inclusiveness[1]. Furthermore, Chen's stories often identify issues of alienation and marginalization, especially those of young adults and less privileged backgrounds. These stories also resonated with the readers within a society that was pretty modernizing and globalizing at the same time[17]. This engagement with social issues heightens the relevance of his work, while at the same time, it catalyzes discussions on issues of social justice and community resiliency, which would enable and inspire readers to stand up and fight for change in their lives and their respective communities. Chen delves into the human psychological trait of ignoring the suffering of others, particularly in utilitarianism where the suffering of one is accepted for the benefit of the rest. Chen’s use of details to display human suffering forces the readers to reflect upon the social change and suffering[22]. Chen’s works ultimately are a representation of the postwar historical forces that impacted the lives of everyday Taiwanese citizens[23].

Political impact

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The political implications of the work of Chen Yingzhen are deep, especially when he addresses the historical and present struggles for identity and self-autonomy in Taiwan. His writings have often reflected tensions inherent in the political contours of Taiwan by investigating the impact of colonialism on the quest for national identity. In Chen's writings, he places personal narratives within a greater political history as a way to show how history configures contemporary experiences [8]. This approach humanizes political discourse and, simultaneously, makes complex issues more comprehensible for readers, enabling them better to understand the interplay of their individual lives with national politics[22]. He shows how resistance and struggle against oppression through his characters are ways to pursue active civic commitment and the effectiveness of activism in representing the political voice of the people. His work calls on readers to reflect on what role they play as citizens in the political landscape, bringing out how every action from a person separately is important for the general striving for democracy and justice[8][7]. Taiwan–China relations have always been an important point of focus in Chen Yingzhen’s perspective and work. Chen stated that he wanted Taiwan to join back with China because he allegedly believed its culture and history are intertwined, justifying the unification as an enforced historical destiny.The unity of China and Taiwan was regarded by Chen as a return to origin[1]. Chen also identifies this sentiment in his writings as he often linked the postwar generation Taiwan experience to the larger Chinese identity[7]. This desire for unification reappears as Chen’s creative process is linked to the ideas about the need for reunification with China[17]. Chen’s advocacy of this reunification is also revealed in his discourse in the “Third World” when he situated Taiwan’s future within China’s overarching progressive narrative[15]. Chen’s support for socialism stems from his deeply rooted conflict of identity. The analysis of Chen’s works in direct comparison with other novelists of his time highlights Chen’s critique of authoritarianism that urges readers to support reunification with China[24].

Literary Impact

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Regardless of political or cultural values, undoubtedly Chen Yingzhen has significantly influenced contemporary Taiwan and Chinese literature. Chen’s literature has explored the connection between identity, society, and the complexity of postwar Taiwan. Chen’s fiction started to transcend, going beyond personal experiences of hardships into political ideologies[1]. This shift in Chen’s writing promoted necessary discourse in literary endeavors and social activity. Through engaging with the history of Taiwan and its culture, Chen influenced the climate of the 1960s and 1970s toward the growing concept of Taiwanese nationalism [7]. Considering these impacts, Chen has influenced modern writers to weave their own life stories, and political and cultural speculations into art. These changes would shift literature into a source for social growth. Furthermore, Chen’s works established and promoted a trend in literature that emphasized realism, humanism, and most importantly the representation of suffering minorities[9]. Besides Chen’s direct literary works, Chen significantly influenced Taiwanese literary culture with his theory of social intervention, which indirectly motivated generations of writers [25]. On the grounds of literary experiments and the political outlook, Chen Yingzhen made a significant contribution to the transformation of Chinese modern literature as a palate for the voices of marginalized groups. Chen’s work was not only limited to impact within China or Taiwan rather his literary impact spread through the entirety of East Asia due to the turbulent times of the post-Cold War strengthening his message for upheaval[9]. In this post-war era, Chen and other novelists wrote of their dream utopia, but Chen was unique in the way that his writing used societal struggles to depict individual goals that highlighted the political disillusionment of the times[26].

Portrait

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Bibliography

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Benedetti, C. (2017). The 1983 International Writing Program and biblical allusions in utopian verses. Chinese Literature Today, 7(2). https://doi.org/10.1080/21514399.2017.1375287

Chao, K. (2014). Reading Chen Yingzhen: why and how. Inter-Asia Cultural Studies, 15(3), 477–490. https://doi.org/10.1080/14649373.2014.951226

Chen, Y. (2011). Chen Yingzhen and the postwar Taiwan experience: A critical review. In Cultural criticism and literature: Readings in contemporary Chinese writing (pp. 63–87). University of Washington Press. https://books.google.com/books?id=C5sBEAAAQBAJ&printsec=copyright#v=onepage&q&f=false

Chen, K.-H. (2014). Editorial introduction: Chen Yingzhen and his time. Inter-Asia Cultural Studies, 15(3), 337–341. https://doi.org/10.1080/14649373.2014.956488

Chen, Y. Lack of Loyal and Filial Piety Represented in Zhongxiao Park ― Focusing on Effeminated Men in the Colony. 237–254. https://doi.org/10.34252/acsri.2009.17.010[dead link]

Chen, Y. (2014). Life and death. Inter-Asia Cultural Studies, 15(3), 435–438. https://doi.org/10.1080/14649373.2014.950480

Chen, Y. (2014). Literary Reportage: when red stars fall into Qigulin Mountains. Inter-Asia Cultural Studies, 15(3), 349–378. https://doi.org/10.1080/14649373.2014.951196

Chen, Y. (2014). Loyalty and Filiality Park. Inter-Asia Cultural Studies, 15(3), 388–434. https://doi.org/10.1080/14649373.2014.951528

Chen, Y. (2014). My father. Inter-Asia Cultural Studies, 15(3), 379–387. https://doi.org/10.1080/14649373.2014.950519

Gwang-Seok YEON. (2017). A Region Reference to Chen Yingzhen’s Literature: A Perspective from Korea. 11(4), 637–665.

Hayward, S. (2015). Chen Yingzhen. Routledge Encyclopedia of Modernism. Routledge. https://www.rem.routledge.com/articles/chen-yingzhen-1938

Kinkley, J. C. (1990). From Oppression to Dependency: Two Stages in the Fiction of Chen Yingzhen. Modern China, 16(3), 243–268. https://doi.org/10.1177/009770049001600301

Lin, S. (2022). On the Pastoral Narratives of CHEN Yingzhen’s The General’s Clan. BCP Social Sciences & Humanities, 17, 423–428. https://doi.org/10.54691/bcpssh.v17i.684

Lin, P., & Gu, M. D. (2019). Masterpieces of Taiwan fiction: Chen Yingzhen and Bai Xianyong. In Routledge Handbook of Modern Chinese Literature (1st ed., pp. 631–642). Routledge. https://doi.org/10.4324/9781315626994-52

Ministry of Culture, Taiwan. (2017, May 28). Legacy series VII: Chen Ying-zhen. https://www.moc.gov.tw/en/News_Content2.aspx?n=478&s=17389

Taiwan Gazette. (2022). A return to the human world: Chen Yingzhen’s utopia and four Renjian journalists. Retrieved from https://www.taiwangazette.org/news/2022/2/20/a-return-to-the-human-world-chen-yingzhens-utopia-and-four-ren-jian-journalists

Tu, H. (2021). Left Melancholy: Chen Yingzhen, Wang Anyi, and the Desire for Utopia in the Postrevolutionary Era. Modern Chinese Literature and Culture, 33(1), 122–160. https://doi.org/10.3366/mclc.2021.0006

TW Reporter. (2022). Back to the time of Renjian magazine. Retrieved from https://www.twreporter.org/a/back-to-time-of-ren-jian-magazine-english

Xu, N. (2014). Back alleys: the creative journey of Chen Yingzhen. Inter-Asia Cultural Studies, 15(3), 342–348. https://doi.org/10.1080/14649373.2014.950479

Yeon, G.-S. (2017). A Region Reference to Chen Yingzhen’s Literature: A Perspective from Korea. Frontiers of Literary Studies in China, 11(4), 637–665. https://doi.org/10.3868/s010-006-017-0035-3[dead link]

Yingzhen, C., & Liu, P. (2005). What the “Third World” means to me. Inter-Asia Cultural Studies, 6(4), 535–540. https://doi.org/10.1080/14649370500316810

Zheng, H. (2014). Chen Yingzhen and Taiwan’s “sixties”: self-realization of the postwar generation in Taiwan. Inter-Asia Cultural Studies, 15(3), 455–476. https://doi.org/10.1080/14649373.2014.951514

Zhuo, L. (2017). Introduction: A Forum on Chen Yingzhen. Frontiers of Literary Studies in China, 11(4), 581–582. https://doi.org/10.3868/s010-006-017-0032-2[dead link]

References

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  1. ^ a b c d e f g h i j k l m n o p Kinkley, Jeffrey C. (July 1990). "From Oppression to Dependency: Two Stages in the Fiction of Chen Yingzhen". Modern China. 16 (3): 243–268. doi:10.1177/009770049001600301. JSTOR 189226. S2CID 143766239.
  2. ^ a b Lupke, Christopher (23 November 2016). "Chen Yingzhen (1937-2016)". Ohio State University. Retrieved 8 August 2018.
  3. ^ a b c Tsu, Jing (2016). "Chen Yingzhen (1938– )". Routledge Encyclopedia of Modernism. doi:10.4324/9781135000356-REM1464-1. ISBN 9781135000356.
  4. ^ a b Chang, Shu-ling; Cheng, Sabine; Chang, S. C. (22 November 2016). "Minister, friends mourn death of writer Chen Ying-chen". Central News Agency. Retrieved 8 August 2018.
  5. ^ a b c Wang, David Der-Wei (Autumn 1998). "Three Hungry Women". Boundary 2. 25 (3). Duke University Press: 66–67. doi:10.1525/california/9780520231405.001.0001. ISBN 9780520238732. JSTOR 303588.
  6. ^ Xu, Nancan (2014). "Back alleys: the creative journey of Chen Yingzhen". Inter-Asia Cultural Studies. 15 (3). Translated by Liu, Petrus: 342–348. doi:10.1080/14649373.2014.950479.
  7. ^ a b c d e f g h i j k l m n o p q r Zheng, Hong-sheng (2014-07-03). "Chen Yingzhen and Taiwan's "sixties": self-realization of the postwar generation in Taiwan". Inter-Asia Cultural Studies. 15 (3): 455–476. doi:10.1080/14649373.2014.951514. ISSN 1464-9373.
  8. ^ a b c d e f g h i j k l m n Chen, Kuan-Hsing (2014-07-03). "Editorial introduction: Chen Yingzhen and his time". Inter-Asia Cultural Studies. 15 (3): 337–341. doi:10.1080/14649373.2014.956488. ISSN 1464-9373.
  9. ^ a b c d e f g h i j k l Yeon, Gwang-Seok (2017-02-08). "A Region Reference to Chen Yingzhen's Literature: A Perspective from Korea". Frontiers of Literary Studies in China. 11 (4): 637–665. doi:10.3868/s010-006-017-0035-3 (inactive 2024-11-12). ISSN 1673-7423.{{cite journal}}: CS1 maint: DOI inactive as of November 2024 (link)
  10. ^ Quoted in Kinkley (1990), 243–244. See Kinkley, Jeffrey C. (July 1990). "From Oppression to Dependency: Two Stages in the Fiction of Chen Yingzhen". Modern China. 16 (3): 243–268. doi:10.1177/009770049001600301. JSTOR 189226. S2CID 143766239.
  11. ^ Kleeman, Faye Yuan (2003). Under an Imperial Sun: Japanese Colonial Literature of Taiwan and the South. University of Hawaii Press. p. 79. ISBN 0-8248-2592-6.
  12. ^ Zheng, Hong-sheng (2014). "Chen Yingzhen and Taiwan's "sixties": self-realization of the postwar generation in Taiwan". Inter-Asia Cultural Studies. 15 (3): 455–476. doi:10.1080/14649373.2014.951514. S2CID 145050403.
  13. ^ a b Chen, Yingzhen (2014-07-03). "My father". Inter-Asia Cultural Studies. 15 (3): 379–387. doi:10.1080/14649373.2014.950519. ISSN 1464-9373.
  14. ^ Chen, Yingzhen (2014-07-03). "Life and death". Inter-Asia Cultural Studies. 15 (3): 435–438. doi:10.1080/14649373.2014.950480. ISSN 1464-9373.
  15. ^ a b c d Yingzhen, Chen; Liu, Petrus (December 2005). "What the 'Third World' means to me". Inter-Asia Cultural Studies. 6 (4): 535–540. doi:10.1080/14649370500316810. ISSN 1464-9373.
  16. ^ Chen, Yingzhen (2014-07-03). "Loyalty and Filiality Park". Inter-Asia Cultural Studies. 15 (3): 388–434. doi:10.1080/14649373.2014.951528. ISSN 1464-9373.
  17. ^ a b c d e f Xu, Nancun (2014-07-03). "Back alleys: the creative journey of Chen Yingzhen". Inter-Asia Cultural Studies. 15 (3): 342–348. doi:10.1080/14649373.2014.950479. ISSN 1464-9373.
  18. ^ Lin, Shuxin (2022-05-10). "On the Pastoral Narratives of CHEN Yingzhen's The General's Clan". BCP Social Sciences & Humanities. 17: 423–428. doi:10.54691/bcpssh.v17i.684. ISSN 2692-6172.
  19. ^ a b Zhuo, L. (2017). Introduction: A Forum on Chen Yingzhen. Frontiers of Literary Studies in China, 11(4), 581–582. https://doi.org/10.3868/s010-006-017-0032-2
  20. ^ a b c "A Return To The Human World: Chen Yingzhen's Utopia And Four Ren Jian Journalists - 報導者 The Reporter". www.twreporter.org (in Chinese (Taiwan)). Retrieved 2024-11-11.
  21. ^ a b c "A Return to the Human World: Chen Yingzhen's Utopia and Four Ren Jian Journalists". The Taiwan Gazette. 2022-02-23. Retrieved 2024-11-11.
  22. ^ a b Chao, Kang (2014-07-03). "Reading Chen Yingzhen: why and how". Inter-Asia Cultural Studies. 15 (3): 477–490. doi:10.1080/14649373.2014.951226. ISSN 1464-9373.
  23. ^ Kleeman, Faye Yuan (2003-09-30). Under an Imperial Sun: Japanese Colonial Literature of Taiwan and the South. University of Hawaii Press. ISBN 978-0-8248-6537-5.
  24. ^ Lin, Pei-yin (2018-09-03), Gu, Ming Dong (ed.), "Masterpieces of Taiwan fiction", Routledge Handbook of Modern Chinese Literature (1 ed.), London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, pp. 631–642, doi:10.4324/9781315626994-52, ISBN 978-1-315-62699-4, retrieved 2024-11-11{{citation}}: CS1 maint: location (link)
  25. ^ Chen, Po-hsi (2017-07-03). "Wang Anyi, Taiwan, and the World: The 1983 International Writing Program and Biblical Allusions in Utopian Verses". Chinese Literature Today. 6 (2): 52–61. doi:10.1080/21514399.2017.1375287. ISSN 2151-4399.
  26. ^ Tu, Hang (June 2021). "Left Melancholy: Chen Yingzhen, Wang Anyi, and the Desire for Utopia in the Postrevolutionary Era". Modern Chinese Literature and Culture. 33 (1): 122–160. doi:10.3366/mclc.2021.0006. ISSN 1520-9857.
 
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