Commenced in January 2007
Paper Count: 31105
Diasporic Discourse and Body Codes:Transnational Identities in Three Representative Chinese-French Artists
Authors: Wen-Hui Chang
Abstract:This paper focuses upon three such painters working in France from this time and their representations both of their host country in which they found themselves displaced, and of their homeland which they represent through refracted memories from their new perspective in Europe. What is their representation of France and China´╝ÅTaiwan? Is it Otherness or an origin? This paper also attempts to explore the three artists- diasporic lives and to redefine their transnational identities. Hou Chin-lang, the significance of his multiple-split images serve to highlight the intricate relationships between his work and the surrounding family, and to reveal his identity of his Taiwan “homeland". Yin Xin takes paintings from the Western canon and subjects them to a process of transformation through Chinese imagery. In the same period, Lin Li-ling, transforms the transnational spirit of Yin Xin to symbolic codes with neutered female bodies and tatoos, thus creates images that challenge the boundaries of both gender and nationality.
Digital Object Identifier (DOI): doi.org/10.5281/zenodo.1333224Procedia APA BibTeX Chicago EndNote Harvard JSON MLA RIS XML ISO 690 PDF Downloads 1151
 Bal Mieke, Generations and Geographies in the Visual Arts: Feminist Readings. London: Routledge, 1996.
 Chien Ying-Ying, Identity, difference, subjectivity. Taipei: New Century, pp. 87-110, þ░íþæøþæøþÀ¿ÒÇé ÒÇèÞ¬ìÕÉîÒÇüÕÀ«þò░ÒÇüõ©╗Ú½öµÇºÒÇïÒÇé ÕÅ░Õîù´╝Üþ½ïþÀÆ´╝î 1997´╝îpp. 87-110ÒÇé
 Fu juan.
 Gao Qian-Hui,
 Gu Yan-Ling, Canon on Feminism. Taipei: Women Culture, 1999, pp. 84,361.Úíºþçòþ┐ÄÒÇé«ÕÑ│µÇºõ©╗þ¥®þÂôÕà©»ÒÇéÕÅ░Õîù´╝ÜÕÑ│µø©µûçÕîû´╝î1999ÒÇé84´╝îpp. 361ÒÇé
 Hou Jing-Lang, A Duet of Life:Hou Jing-Lang Exhibition. Taipei: National History Museum, 2009, pp.12-17,21-27, 32-59, 97, 115, 116, 130, 138, 137, 141, 142, 146. õ¥»ÚîªÚâÄÒÇé«þöƒÕæ¢õ║îÚçìÕÑÅ-µùàµ│òþò½Õ«Âõ¥»ÚîªÚâÄþ┤Ç Õ┐ÁÕ▒ò»ÒÇéÕÅ░Õîù´╝ÜÕ£ïþ½ïµ¡ÀÕÅ▓ÕìÜþë®Úñ¿´╝î2009´╝îpp.12-17,21-27, 32-59, 97, 115, 116, 130, 138, 137, 141, 142, 146
 Hou Yin-ren,
 Lin Li-Ling, Mole and Tattoo: Lin Li-Ling Exhibition. Taipei: Boss art gallery , 2008. µ×ùÚ║ùþÄ▓ÒÇé«Ú╗æþùúÞêçÕê║ÚØÆþò½Úøå»ÒÇéÕÅ░Õîù´╝ÜµØ▒Õ«Âþò½Õ╗è´╝î2008ÒÇé
 Maxine Hong-Kingston, The Woman Warrior. London:Vintage, 1989, pp. 103.
 Nicholas Mirzoeff., An Introduction to Visual Culture. London: Routledge , 2000, pp. 29, 194,
 Yin Xin, Metamorphoses: Xin Yin Exhibition, Shanhai: Shanhai Art Museum,2005, pp. 66,68,74,78,80,96,120,132, 149-154, 157-160ÒÇé Õ░╣ µ¼úÒÇé« þ¥ÄÚüöµæ®õ¢øµû»» ÒÇéõ©èµÁÀ´╝Ü õ©èµÁÀþ¥ÄÞíôÚñ¿´╝î 2005 ´╝î pp. 66,68,74,78,80,96,120,132, 149-154, 157-160ÒÇé