In the history of fiction novels in Taiwan, Chiung Yao has had great influence. Since Chung Yao published her first book, Outside the Window, in 1963, she has actively contributed to the literature in Taiwan. In years past, there have been many comments, critiques and articles related Chiung Yao’s publications. From 1960 and 1990, many scholars analyzed Chiung Yao’s novels or television series scripted from her stories. My dissertation primarily focuses on Chung Yao’s novels published after 1990. In chapter 2, I analyze the ways she describes the story, the framework in which she builds up the story, and the characteristics of each role she employs to describe the story, then I summarize the essential framework and style of Chiung Yao’s novels. As to how she describe a story, twisting romance up and down among the characters, balancing the conflicts between relatives and lovers that has been special in her style and characteristic of her writing. In addition, Chiung Yao has utilized classic poems and created a poetic background to extend this specialty in her novels. There are similarities in role building in Chiung Yao’s current novels and her previous novels, however she created a different personality style in current novels showing that she has progressed from her earlier productions. A love story is the major topic of Chiung Yao’s novels. There is a commonality of pattern and flow in the love story of each Chung Yao novel. Forbidden love was less found in Chiung Yao’s early novels, however, tragic, abnormal, May-December love stories or immoral love triangles are a more common source of Chiung Yao’s novels after 1990.
In chapter 4, the arguments focus on how Chiung Yao’s novels relate to physical topics. One attempt tries to sort out how love relates to masochism or sadism. From the point of view as being a victim of abuse, there seems a strong correlation between the greater the degree of abuse, the stronger the degree of love. Also, from the point of view of a self-abuser, it symbolizes physical, mental and emotional independence, which is not only against tradition, but also against order. Also, herein I explore and investigate when under traditional morality a female has to accept the constraints of tradition and how to face the contradictions and struggles in a state of oppression and helplessness and still imply a positive movement for females in Chiung Yao’s writings. Overall, my dissertation will use Chiung Yao’s narration to illuminate her varying styles after 1990.