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Liu Na'ou (1905-1940) was born in Taiwan during the Japanese occupation period. Pursuing his high school education in Japan, he proceeded to learn French at Aurora University in Shanghai after graduation. These experiences added to his colonial background and "multi-modem" perspective, which embraced the linguistic and cultural features of Europe, Japan, Taiwan, and China. Through extensive exposure to a broad range of modernist works as well as his translation of modernist novels by Japanese authors and Paul Morand (1888-1976), Liu Na'ou adopted the two approaches of gaze. This, in turn, inspired him to emerge as a hybrid-cultural middleman. Based on this foundation, he continued to write novels that reflected various degrees of colonialism, showing a different gendered gaze than that found in the West and Japan. This paper examines the development of Liu Na'ou's translations, particularly with regard to the manifestation of gendered gaze and colonial gaze. In addition, the paper discusses the significance and impact of Liu Na'ou as a hybrid-cultural translator. [ABSTRACT FROM AUTHOR]

Historical memory fiction has flourished ever since the lifting of martial law in Taiwan. Some of these fictions excavate multi-ethnic, transnational experiences in relation to colonialisms, exploring ethnic experiences beyond stereotypes and debunking monolithic national imagination, thereby opening up possibilities for an alternative historical imagination. This article deals with the alternative historical imagination in Shih Shu-ching's Dust before the Wind, with a special focus on its representation of issues that had rarely been dealt with before in Taiwanese literature, such as the “enterprise of governing the savages,” the Taroko Battle, the ethnic relationships in Hualien under Japanese rule, Japanese immigrant villages, and postwar Japanese legacy. I argue that the novel presents an intricate re-vision of Japanese colonialism and Taiwan's postcoloniality by contrapuntally portraying three ethnic groups in eastern Taiwan under Japanese colonial rule and depicting post-war Japanese legacy, as well as by re-exploring the identity problems triggered by assimilation, imperialization, decolonization, and indigenization. [ABSTRACT FROM AUTHOR]