本文選題：譚恩美 + 《拯救溺水魚(yú)》　； 參考：《廣西大學(xué)》2012年碩士論文

【摘要】：譚恩美是當(dāng)今美國(guó)華裔作家的代表人物。自1989年第一部作品《喜福會(huì)》問(wèn)世以來(lái),譚恩美先后又創(chuàng)作了《灶神之妻》(1991)、《靈感女孩》(1995)和《接骨師之女》(2001)。至此,她的作品已形成鮮明的個(gè)人風(fēng)格,即都涉及到華人家庭中母女關(guān)系,華人族裔身份及東西方文化的沖突與融合等問(wèn)題。這些作品均以獨(dú)特的寫(xiě)作手法和生動(dòng)的文筆在國(guó)內(nèi)外獲得巨大成功,好評(píng)如潮,并成為眾多批評(píng)家關(guān)注的焦點(diǎn)。 然而,譚恩美歷時(shí)五年精心打造的長(zhǎng)篇小說(shuō)《拯救溺水魚(yú)》(2005)卻沒(méi)有得到西方批評(píng)家及讀者以往的關(guān)注和一致的贊譽(yù)。且關(guān)于該小說(shuō)的評(píng)論褒貶不一,有的批評(píng)家認(rèn)為譚恩美試圖突破以往她小說(shuō)中的華裔的界限,而有的批評(píng)家則認(rèn)為她的這部小說(shuō)脫離了原有的寫(xiě)作風(fēng)格,研究?jī)r(jià)值不大。本文試從文本細(xì)讀入手,運(yùn)用后殖民主義的相關(guān)理論證明譚恩美在該小說(shuō)中解構(gòu)了西方傳統(tǒng)的種族及文化優(yōu)越論的抵抗式寫(xiě)作是其招致西方批評(píng)家及讀者不解和爭(zhēng)議的根本原因。 本論文共分為五部分。第一章為文獻(xiàn)綜述,相關(guān)理論的概述及作家作品介紹。第二章指出《拯救溺水魚(yú)》的故事背景由其過(guò)去的虛幻的東方轉(zhuǎn)為紀(jì)實(shí)性的東方之旅,破除了其以往小說(shuō)中東方主義話(huà)語(yǔ)的時(shí)空格局。通過(guò)分析西方人眼中的東方異域風(fēng)光及文化,闡明了東方不需要西方一廂情愿的“拯救”。西方所謂的“拯救”起不到任何作用,它只會(huì)破壞東方文化自身的完整性；相反,西方文化通過(guò)對(duì)東方文化的重新認(rèn)識(shí),則可從中得到自我發(fā)展,從而達(dá)到自我拯救的目的。譚恩美用自己詼諧幽默的語(yǔ)言把異質(zhì)文化之間的差異、矛盾和碰撞藝術(shù)地展現(xiàn)在讀者面前,表征了她多元文化共存的文學(xué)訴求。 第三章指出在小說(shuō)《拯救溺水魚(yú)》中,譚恩美跳出了西方傳統(tǒng)文學(xué)中人物描寫(xiě)的固有模式。在長(zhǎng)期的文化偏見(jiàn)和種族歧視下,西方文學(xué)作品中充滿(mǎn)了令人反感的東方人物形象。本章討論了譚恩美為了回?fù)粑鞣轿幕詸?quán),對(duì)西方話(huà)語(yǔ)權(quán)威進(jìn)行的大膽挑戰(zhàn),消解了“東方主義”話(huà)語(yǔ)強(qiáng)壓在東方人身上的刻板形象,成功地再現(xiàn)了東方人的男性氣質(zhì),并打破了長(zhǎng)期以來(lái)東方女性在西方主流話(huà)語(yǔ)中的失語(yǔ)狀態(tài)。 第四章分析了譚恩美對(duì)白人人物形象充滿(mǎn)批判諷刺的刻畫(huà),對(duì)白人的“拯救”神話(huà)進(jìn)行的顛覆。身心俱患頑疾的西方人無(wú)法拯救任何人,相反,東方人的天人合一的和諧的價(jià)值觀卻是拯救西方人身心的良藥。從而,解構(gòu)了西方的話(huà)語(yǔ)霸權(quán),消解了存在于東西方之間的二元對(duì)立。 第五章得出結(jié)論：這部小說(shuō)雖然招致西方批評(píng)家及讀者的消極反應(yīng),但恰恰標(biāo)志著譚恩美的小說(shuō)實(shí)現(xiàn)了對(duì)東方主義的超越。同時(shí),也體現(xiàn)了譚恩美在當(dāng)今多元文化及全球化的時(shí)代背景下,對(duì)東西方平等對(duì)話(huà),各個(gè)種族、各個(gè)文化之間和平相處及構(gòu)建和諧社會(huì)的美好愿望。
[Abstract]:Amy Tan is the representative of Chinese American writers today. Since the first work of the Joy Luck Club in 1989, Amy Tan has successively created the wife of the kitchen god (1991), the inspiration girl (1995) and the woman of the bone master (2001). At this point, her works have formed a distinctive style, that is, the mother and daughter relationship in the Chinese family, the Chinese ethnic group. These works have achieved great success at home and abroad with unique writing techniques and vivid writing, which have become the focus of many critics.
However, Amy Tan's five year long novel, "save drowning fish" (2005), did not get the attention and unanimous praise of the Western critics and readers. And the comments on the novel are mixed and commended, and some critics believe that Amy Tan is trying to break through the limits of the Chinese descent she said in the past, while some critics think Her novel is out of the original style of writing and is of little value in the study. This paper, starting with a detailed reading of the text and using the related theories of post colonialism, proves that Amy Tan's resistance to the Western tradition of racial and cultural superiority was deconstructed in the novel which is the root cause of the disagreement and controversy of Western critics and readers.
This paper is divided into five parts. The first chapter is the literature review, the summary of the related theories and the introduction of the writers and works. The second chapter points out that the story of saving the drowning fish is transformed from its past fantasy east to the documentary Oriental journey, breaking the spatial and temporal pattern of the orientalist discourse in his previous novels. The scenery and culture of the foreign region states that the east does not need the Western wishful "salvation". The Western so-called "salvation" does not play any role. It only destroys the integrity of the eastern culture itself; on the contrary, the western culture can get self development through the re recognition of the Oriental Culture and thus achieve the goal of self salvation. Amy Tan uses his humorous language to show the differences, contradictions and collisions between different cultures in front of the readers, and characterizing the literary appeal of her multicultural coexistence.
The third chapter points out that in the novel < save drowning fish >, Amy Tan jumped out of the inherent pattern of portrayal in the traditional western literature. Under the long-term cultural prejudice and racial discrimination, the western literary works were filled with the disgusting Oriental figure. This chapter discussed Amy Tan's authority in Western cultural hegemony and the authority of Western discourse. The bold challenge dissolves the stereotyped image of Orientalism in the Orientals, successfully reproduces the masculinity of the Orientals and breaks the aphasia in the western mainstream discourse for a long time.
The fourth chapter analyzes Amy Tan's portrayal of the white characters, which is full of criticism and satire, and subverts the "salvation" myth of the white people. The westerners who are physically and mentally ill can not save anyone. On the contrary, the harmonious values of the harmony between the East and the human beings are the good medicine to save the westerners, and thus deconstruct the western hegemony. Power has eliminated the two element opposition between the East and the West.
The fifth chapter draws a conclusion that, although the novel leads to the negative reaction of Western critics and readers, it just marks the transcendence of Amy Tan's novels to Orientalism. At the same time, it also embodies Amy Tan's dialogues, races, cultures and cultures in the context of contemporary multiculturalism and globalization. The good desire to build a harmonious society and to build a harmonious society.
【學(xué)位授予單位】：廣西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：I712.074

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