Abstract

Recognizing that the magazine Huimang(Hope)(1951-1966) did not slow down its communication with public readers by devoting a lot of space to literature and thus continuing to reinforce its literature section, this study focused on the ways that its directing points were embodied through its "literature section." A look at the layout patterns of the literature section shows that the editors intended to guide the public consistently through the representation of "hope." When they introduced writers, they focused on depicting them as individuals that represented "hope" that overcame hardship instead of placing them in the history of literature. They also maintained their communication with the readers actively in the "literature section for the readers" to turn the public into a culture and build "hope." The "long serial novels" presented romantic love as their major narrative and found a major factor of conflict in the free expression of characters' desire. The control method of punishment worked as a rite of passage at the point of stitching up the conflicts rather than popularizing such stimulating materials. Inherent in the method was the way of controlling women's "dangerous sex" with the traditional Confucian discourse and the chastity ideology. It is linked to gender politics in the process of nuclear families under the national reconstruction project in the 1960s. It can be understood as the cultural politics of "hope" through the long serial novels in Huimang(Hope). Hope established itself as a "general magazine for people's refinement" that led the "popularization of literature" and "enculturation of the public" to restore and reconstruct the nation out of the war with "hope" in the 1950s.