According to Hsu, the “entanglement” is metaphorical—a symbolic binding of the with the physical body (the oil‑preserved relic) .
Part II abandons the linear narration of its predecessor, opting instead for a reminiscent of early modernist techniques seen in James Joyce’s Ulysses (1922) and the cinematic “jump cuts” of D.W. Griffith’s The Birth of a Nation (1915). The novella is divided into twelve “frames,” each labeled with a bodily term (“Shoulder,” “Knee,” “Ankle”) that serves both as a physical marker and a thematic signpost. This fragmented architecture mirrors the disjointed nature of revolutionary consciousness: moments of clarity are interspersed with bouts of confusion, reflecting the “entangled” experience of living through a seismic political shift.
According to Hsu, the “entanglement” is metaphorical—a symbolic binding of the with the physical body (the oil‑preserved relic) .
Part II abandons the linear narration of its predecessor, opting instead for a reminiscent of early modernist techniques seen in James Joyce’s Ulysses (1922) and the cinematic “jump cuts” of D.W. Griffith’s The Birth of a Nation (1915). The novella is divided into twelve “frames,” each labeled with a bodily term (“Shoulder,” “Knee,” “Ankle”) that serves both as a physical marker and a thematic signpost. This fragmented architecture mirrors the disjointed nature of revolutionary consciousness: moments of clarity are interspersed with bouts of confusion, reflecting the “entangled” experience of living through a seismic political shift.
日本語