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dishes, fish for food, plant vegetables, because you were too lazy to do it yourself.‖ (qtd Zabus 45) ? Ending: Prospero stays ―aged and weary‖ and then dies. Caliban is free. Postcolonial Identities — I. Postcolonial Revisions The Tempests (2) II. Miranda –postpatriarchal reading ? – Canadian version (develops to a fullgrown womanartist wrestling her way out of patriarchal bounds (husband, lover, father or fosterfather)。 ? Caribbean version – away from the mother (and the patriarchal society she supports). III. Postmodern Prospero –. Jarman‘s film: ? the use of the Gothic ? renders Prospero‘s mind unstable。 ? excessive physicality of Caliban as a parody of an Edwardian butler。 ? homoerotic aura around Stephano/Trinculo. ? ? history as masquerade – or ?camp.‘ Postcolonial Identities — II. Language 1. ―The Caliban legacy‖ ? to give up using the master‘s language。 to claim English as their own language and change it ? englishes。 2. For AfroAmericans, Australians and Canadians, English is their only language. Postcolonial Identities — II. Language (2) Strategies 1. Preserving and developing one‘s mother tongues with romanization, etc. 2. Changing or reversing or confusing the language hierarchy . the use of Taiwanese and Hakka in Taiwan 客家話 3. mixing languages: (Three stages of the use of colonizer‘s language: Adopt, Adapt, Adept) . ―My Man Bovanne‖ Postcolonial Identities — III. ReVisioning History ? Rewriting: . Japanese rule《 無言的山丘》 。 mainland Chinese soldiers to Taiwan《 香蕉的天堂》 ? ReVisioning: Japanese rule《 阿爸的情人》、 《戲夢人生》 228 《 悲情城市》、 《高砂百合》 White Terror 《 好男好女》、 The American Armies in Taiwan 《 太平天國》 (our example)、 〈 莎優(yōu)拉娜.再見 〉 、 〈 小寡婦 〉 、 〈 玫瑰玫瑰我愛你 〉 、 〈 蘋果的滋味 〉 等 Postcolonial Identities — III. Identity and Strategies ? Identity ? Separatism (Nativism), ? Integration, Active participation, ? Assimilation. ? Strategies ? Essentialist Construction ? ReCreation, ? Cultural Syncreticism, ? Conscious Mimicry ? Mimicry Duality and Hybridity ? (Against Multiculturalism) ? Cultural Difference