In the beginning of the workshop associate professor Pei-chen Wu, Graduate Institute of Taiwanese Literature, NCCU, gave a speech. She indicated that on speaking of the problems about a colony the most possible association was the relations between Japan and us. From 1895 to 1945 Taiwan was a colony of Japan. So far there left plenty of historical relics but not disappeared with the colonialism.

Associate professor Mal-soon Choi, Graduate Institute of Taiwanese Literature, NCCU, pointed out that realism based on the fact and reality. And this was the fundamental spirit of the modern literature. In 1930’s proletarian literature developed on basis of realism. In this period the primary issues were problems between colonists and natives. They were relative with nationalism, national movements, social class, etc.

Assistant professor Ta-wei Chi, Graduate Institute of Taiwanese Literature, NCCU, said that speaking of Taiwan’s homosexual literature Xianyong Bai was the most important novelist. Since the 1960’s he played as a representative of the homosexual literature. In the past the homosexuals expressed themselves via literature more or less because in the duration of the martial art people were ruled with an iron fist. And literature was a relatively save way to relieve themselves.

Associate professor Wan-jung Wang, department of drama creation and application, National University of Tainan, started discussing the issue of the workshop from the perspective of post-modern applied drama. Additionally, the key of the applied drama existed in the urbanization of capitalism and the multiethnic as well as the colonial history. For instance, there’re the housing problems in Hong Kong, the aging, ethical and racial problems among Malay, Indian and Chinese people in Singapore. Furthermore, the meaning of the post-modernity lied in the breakthrough of modernity and showing themselves.

Associate professor Chun-chi Wang, department of English, National Dong Hwa University, addressed a keynote speech on Taiwanese-language films. She explained that postwar Taiwan was lack of new national movies and thus there’s the space for Xia- and Cantonese-language films to be imported to Taiwan. Afterwards, the televisionization of Taiwanese Folk Opera gave rise to the prosperity of Taiwanese-language movies. In the 1960’s with the prevailing Taiwanese songs the Taiwanese-language motion pictures stepped on the peak.

At the end of the workshop Fang-ming Chen, chair professor, Graduate Institute of Taiwanese Literature, NCCU, thought that no matter how large or small the issues were, all of them could be relative with the aesthetic form. Moreover, he hoped that after the publish of the first work “Colony and City” the team “The Modernization and Transition of Modern Art and Literature” could keep endeavoring to fulfill the second and even the third work. Above all, the workshop was the best showcase for the team.