Wikipedia:Articles for deletion/Wu Kunhuang

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:{{la|1=Wu Kunhuang}} – (View AfDView log | edits since nomination)

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Contested redirect (as an ATD) without improvement, not enough in-depth coverage from independent, reliable sources to show they pass WP:GNG, nor to satisfy WP:VERIFY, and searches did not turn up enough to show they pass WP:GNG, and they do not appear to meet WP:NSCHOLAR. Onel5969 ^{TT me} 15:12, 26 April 2025 (UTC)

• Note: This discussion has been included in the deletion sorting lists for the following topics: Academics and educators, Authors, and Taiwan. Shellwood (talk) 16:06, 26 April 2025 (UTC)

• Keep per the significant coverage in multiple independent reliable sources. The subject passes Wikipedia:Notability (people)#Basic criteria, which says:

  People are presumed {{strong|notable}} if they have received significant coverage in {{strong|multiple published}} {{strong|secondary sources}} that are {{strong|reliable}}, {{strong|intellectually independent}} of each other, and {{strong|independent of the subject}}.

  • If the depth of coverage in any given source is not substantial, then multiple independent sources may be combined to demonstrate notability; trivial coverage of a subject by secondary sources is not usually sufficient to establish notability.

  Sources

  1. {{cite book |editor1-last=Li |editor1-first=Cheng-chi 李承機 |editor2-last=Li |editor2-first=Yu-lin 李育霖 |date=2015 |title=「帝國」在臺灣 殖民地臺灣的時空, 知識與情感 |trans-title="Empire" in Taiwan: The Space-Time, Knowledge, and Emotions of Colonial Taiwan |language=zh |url=https://books.google.com/books?id=tdZICwAAQBAJ&pg=PA181 |location=Taipei |publisher={{ill|National Taiwan University Press|zh|國立臺灣大學出版中心}} |via=Google Books |page=181 |isbn=978-986-350-120-6 |accessdate=2025-04-26 }}

     The book notes: "綜上所述，吳坤煌透過詩歌及戲劇活動聯繫臺灣與國際左翼運動，這些活動中牽涉大量的文化翻譯行為。誠如王惠珍有關吳坤煌與金斗鎔跨國文藝運動之比較分析，吳坤煌立基於臺灣觀點，細心考量了發表媒體的性質及中、日讀者的差異，顯示清晰的殖民地作家的戰略性。他與中國流亡作家雷石榆、朝鮮旅日作家金斗鎔的角色極其類似，三人皆為東亞左翼作家在日本的重要窗口。吳坤煌的左翼文藝活動具有以下意義：第一，左翼文化走廊的形成，是一群「不轉向者」在左翼運動寒冬共同奮戰的成果。吳坤煌亦是「轉向」風潮的抵抗者之一；第二，以國際都市東京為舞臺的「不轉向者」，其存續條件、戰鬥策略和支持動力，除了日本左翼文化人之外，亦仰賴跨民族/跨國左翼分子彼此間的交流與結盟；第三，吳坤煌只是左翼走廊中的眾多活動者之一，但是他的聯繫工作卻使得因政治運動式微而低迷的臺灣文壇與東亞左翼文化運動的依存體系取得聯繫，該體系也藉此獲得來自臺灣的帝國主義批判資源。"

     From Google Translate: "In summary, Wu Kunhuang connected Taiwan with the international left-wing movement through poetry and drama activities, which involved a large amount of cultural translation. As Wang Huizhen's comparative analysis of Wu Kunhuang and Jin Dourong's transnational literary movements shows, Wu Kunhuang, based on the Taiwanese perspective, carefully considered the nature of the publishing media and the differences between Chinese and Japanese readers, showing a clear strategic nature of a colonial writer. His role is extremely similar to that of Chinese exiled writer Lei Shiyu and North Korean writer living in Japan Kim Doo-yong. All three are important windows for East Asian left-wing writers in Japan. Wu Kunhuang's left-wing literary and artistic activities have the following significance: First, the formation of the left-wing cultural corridor is the result of a group of "non-turners" fighting together in the cold winter of the left-wing movement. Wu Kunhuang was also one of the people who resisted the "turn" trend; secondly, the survival conditions, combat strategies and support motivation of the "non-turners" based in the international city of Tokyo, in addition to Japanese left-wing cultural figures, also relied on exchanges and alliances between cross-ethnic/transnational leftists; thirdly, Wu Kunhuang was only one of many activists in the left-wing corridor, but his networking work enabled the Taiwanese literary world, which was depressed by the decline of political movements, to connect with the dependent system of the East Asian left-wing cultural movement, which also obtained imperialist critical resources from Taiwan."

  2. {{cite book |last=Wang |first=Hui-chen 王惠珍 |date=2020 |title=譯者再現 台灣作家在東亞跨語越境的翻譯實踐 |trans-title=Translator Re-appears: Taiwanese Writers Translational Practices in East Asia's Translingual Border-Crossings |language=zh |url=https://books.google.com/books?id=dpQIEAAAQBAJ&pg=PT27 |location=Taipei |publisher=Linking Publishing |via=Google Books |isbn=978-957-08-5620-0 |accessdate=2025-04-26 }}

     The book notes: "1930年代台灣日語作家中與日本左翼文化團體關係最為密切者，當屬楊達（1906-1985）與吳坤煌（1909-1989）兩人。楊逵因小說〈送報伕〉一作榮獲《文學評論》的徵文獎進入日本中央文壇，但吳坤煌在日本文壇卻未曾得過任何文學獎項，作品以詩和評論為主，產量不多。1939年便前往中國謀職，未直接參與台灣戰爭期的文學活動。因此，在台灣新文學史上並未受到特別的關注。直至下村作次郎著手研究《福爾摩沙》青年們之後，利用挖掘的一手文獻史料，釐清了吳坤煌與朝鮮左翼知識分子金斗鎔、舞蹈家崔承喜（1911-1969）的交友關係和他在日本的中、台、鮮文化交流圈內所扮演的角色後，才讓我們對吳坤煌在日的文化活動有較完整的認識。"

     From Google Translate: "Among the Japanese writers in Taiwan in the 1930s, those who had the closest ties with Japan's left-wing cultural groups were Yang Da (1906-1985) and Wu Kunhuang (1909-1989). Yang Kui won the essay award from Literary Review for his novel "The Newspaper Delivery Boy" and entered the central literary world of Japan, but Wu Kunhuang has never won any literary awards in the Japanese literary world. His works are mainly poetry and criticism, and his output is not large. He went to China to seek employment in 1939 and did not directly participate in literary activities during the war in Taiwan. Therefore, it has not received special attention in the history of Taiwan's modern literature. It was not until Shimomura Sakujiro began to study the "Formosa Youths" and used the first-hand documentary materials he excavated to clarify Wu Kunhuang's friendship with the Korean left-wing intellectual Kim Doo-yong and the dancer Choi Seung-hui (1911-1969) and the role he played in the Chinese, Taiwanese and Korean cultural exchange circles in Japan that we had a more complete understanding of Wu Kunhuang's cultural activities in Japan."

  3. {{cite book |last=Wu |first=Pei-chen 吳佩珍 |date=2022 |title=福爾摩沙與扶桑的邂逅 日治時期台日文學與戲劇流變 |trans-title=The Encounter of Formosa and Fusang: Literary and Theatrical Transformations between Taiwan and Japan during the Japanese Colonial Period |language=zh |url=https://books.google.com/books?id=EdmEEAAAQBAJ&pg=PA150 |location=Taipei |publisher={{ill|National Taiwan University Press|zh|國立臺灣大學出版中心}} |via=Google Books |page=150 |isbn=978-986-350-576-1 |accessdate=2025-04-26 }}

     The book notes: "中國的田漢（1898-1979）與台灣的吳坤煌（1909-1989），從二人今日留下的戲劇創作與評論，除了可知他們在東京如何透過戲劇受到左翼文藝思潮的洗禮，也可看出二人在東京交疊的軌跡。吳坤煌不僅參與田漢的戲劇演出，也曾發表田漢戲曲作品的劇評。... 有關吳坤煌在日戲劇活動的先行研究，首先有日本學者下村作次郎針對吳坤煌的東京時代爬梳其與朝鮮演劇家金斗鎔，以及劇作家秋田雨雀之間交流的關係。該文透過資料仔細比對追蹤，確認北村敏夫便是吳坤煌的筆名。柳書琴對於吳坤煌於東京與日本左"

     From Google Translate: "From the drama creations and reviews left behind by China's Tian Han (1898-1979) and Taiwan's Wu Kunhuang (1909-1989), we can not only see how they were influenced by left-wing literary and artistic trends through drama in Tokyo, but also see the overlapping trajectories of the two in Tokyo. Wu Kunhuang not only participated in Tian Han's drama performances, but also published reviews of Tian Han's opera works. ... The first research on Wu Kunhuang's theatrical activities in Japan was conducted by Japanese scholar Sakujiro Shimomura, who explored Wu Kunhuang's exchanges with the Korean playwright Kim Doo-yong and the playwright Akita Ujaku during his Tokyo period. Through careful comparison and tracking of the data, this article confirmed that Kitamura Toshio is the pen name of Wu Kunhuang. Liu Shuqin's comments on Wu Kunhuang's stay in Tokyo and the Japanese left"

  4. {{cite book |last=Liu |first=Shu-chin 柳書琴 |date=2019 |title=日治時期台灣現代文學辭典 |trans-title=Dictionary of Modern Taiwanese Literature during the Japanese Colonial Period |language=zh |url=https://books.google.com/books?id=BbSoDwAAQBAJ&pg=PA157 |location=Taipei |publisher=Linking Publishing |via=Google Books |pages=157–159 |isbn=978-957-085-255-4 |accessdate=2025-04-26 }}

     The article notes: "吳坤煌（1909-1989）詩人、評論家、演劇工作者、教師、社會運動者等。筆名梧葉生、北村敏夫、譽烔煌生。台灣南投人。1923年考取台中師範學校，1929年因學運餘波遭退學前往東京，輾轉就讀日本齒科專校、日本神學校、日本大學、明治大學等校。1932年8月與王白淵、林兌等人因籌組隸屬日本普羅列塔利亞文化聯盟（KOPF ）之「東京台灣人文化同好會（ ）」被取締，學業中斷。此後直到1938年3、4月間返台前，旅居東京，在轉向風潮中堅持左翼文化運動。1933年與張文環、巫永福等旅日學生組織台灣藝術研究會，發行《 毛 》，主編第一期，為台灣第一個日文純文學雜誌。"

     From Google Translate: "Wu Kunhuang (1909-1989) was a poet, critic, dramatist, teacher, social activist, etc. His pen names are Wu Yesheng, Kitamura Toshio, and Yu Yonghuangsheng. From Nantou, Taiwan. In 1923, he was admitted to Taichung Normal School. In 1929, he was expelled from school due to the aftermath of the student movement and went to Tokyo, where he studied at Japan Dental College, Japan Theological Seminary, Nihon University, Meiji University and other schools. In August 1932, he and Wang Baiyuan, Lin Dui and others organized the Tokyo Taiwanese Cultural Association () under the Japanese Proletarian Cultural Federation (KOPF), but the organization was banned and his studies were interrupted. From then on until he returned to Taiwan in March or April 1938, he lived in Tokyo and persisted in the left-wing cultural movement amid the trend of shifting trends. In 1933, he organized the Taiwan Art Research Society with Zhang Wenhuan, Wu Yongfu and other students studying in Japan, and published "Mao". He edited the first issue, which was the first Japanese pure literature magazine in Taiwan."

  There is sufficient coverage in reliable sources to allow Wu Kunhuang ({{zh|t=吳坤煌|s=吴坤煌|first=t,s}}) to pass Wikipedia:Notability#General notability guideline, which requires "significant coverage in reliable sources that are independent of the subject".

  Cunard (talk) 21:57, 26 April 2025 (UTC)

• Comment: Pinging {{user|Hanyangprofessor2}}, who contested the redirect. Cunard (talk) 21:57, 26 April 2025 (UTC)
• :@Cunard Thanks. The nom is not being very nice, "forgetting" to ping me and engaging in stealth deletion of content without discussion by boldly redirecting them. I hope they'll follow proper procedures in the future. As for the article in question - keep, of course, since the topic meets GNG. Wikipedia:AFDNOTCLEANUP _{Piotrus at Hanyang| reply here} 05:38, 28 April 2025 (UTC)

{{clear}}

:The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.