本文選題：《玉牡丹》 + 后殖民主義　； 參考：《哈爾濱工業(yè)大學(xué)》2012年碩士論文

【摘要】：后殖民主義興起于20世紀(jì)70年代的西方學(xué)術(shù)界，是為了消除殖民思想，對西方文化霸權(quán)和帝國主義發(fā)起的挑戰(zhàn)。后殖民主義主要是關(guān)于文化的理論研究，認(rèn)為只有消除種族歧視，階級壓迫和性別歧視，才能真正地消除文化霸權(quán)，實(shí)現(xiàn)文化融合。 本文在后殖民主義的理論基礎(chǔ)之上，，從身份認(rèn)同，階級壓迫和性別歧視三方面對華裔加拿大作家崔維新的《玉牡丹》進(jìn)行分析。小說主要反映森朗一家三代在加拿大的生活狀況，及他們通過不屈不撓的斗爭，盡力融入主流文化的故事，從而反映了少數(shù)族裔人民逐漸取得平等地位，最終實(shí)現(xiàn)文化融合的歷史過程。 本論文分為三章。第一章以森朗等人為例，分析華人在加拿大尋找和確認(rèn)文化身份的過程。早期的華人移民在加拿大受到嚴(yán)重的種族歧視，因此身份成為最令他們困惑的問題之一。森朗在中國文化和加拿大主流文化的碰撞過程中倍感迷茫，但他最終實(shí)現(xiàn)了身份的建構(gòu)——不只是做一個中國人或加拿大人，而是做一個華裔加拿大人。 第二章從階級的角度入手，討論小說中的華裔加拿大人所遭受的階級壓迫以及他們?nèi)绾芜M(jìn)行斗爭，努力取得平等地位的過程。懷揣“金山夢”來到加拿大，華裔移民卻遭受到殘酷的階級壓迫。二戰(zhàn)之后，狀況有所好轉(zhuǎn)，華裔移民及他們的后代通過自身的努力沖破階級束縛，實(shí)現(xiàn)了階級身份的逐漸提高。 第三章從后殖民女性主義的視角出發(fā)研究小說中的女性人物。她們是華裔女性在加拿大社會的代表。老一代的婆婆是中國男權(quán)傳統(tǒng)的維護(hù)者，母親被壓迫卻并未徹底抗?fàn)帲贻p一代的祝良則是男權(quán)制的反抗者。在家里，她們是中國男權(quán)制度的受害者。而在社會上，她們又遭到加拿大主流社會的壓迫。作為最年輕的一代女性的代表，祝良最終開始去爭取自己的平等權(quán)利。 本文研究表明，只有真正實(shí)現(xiàn)種族，階級和性別的徹底抗?fàn)�，中國文化才真正融入加拿大文化，華裔加拿大人才能真正融入加拿大社會，“玉牡丹”這個中國傳統(tǒng)文化的象征也才能真正扎根于加拿大這片異土。
[Abstract]:The postcolonialism began in the western academic circles of the 1970s to challenge the colonial ideology and to challenge western cultural hegemony and imperialism. Post colonialism is mainly about the theoretical study of culture. It is believed that only the elimination of racial discrimination, class oppression and gender discrimination can truly eliminate cultural hegemony and achieve cultural fusion. Close.
On the basis of the theory of post colonialism, this paper analyzes the jade peony of Chinese Canadian writer Cui Weixin from three aspects of identity, class oppression and sex discrimination. The novel mainly reflects the life situation of the three generations of the family in Canada, and the stories of their efforts to integrate into the mainstream culture through unyielding struggle. It reflects the gradual process of ethnic minorities' equal status and the eventual realization of cultural integration.
This thesis is divided into three chapters. In the first chapter, the process of finding and confirming cultural identity in Canada is analyzed in the case of Sen long and so on. The early Chinese immigrants were severely racist in Canada, so the identity became one of the most perplexing problems. But he finally realized his identity - not just to be a Chinese or Canadian, but to be a Canadian of Chinese origin.
The second chapter, starting with the angle of class, discusses the class oppression suffered by Chinese Canadians in the novel and how they struggle to achieve equal status. Through their own efforts, the descendants broke through class bondage and realized the gradual improvement of class identity.
The third chapter studies the female characters in the novel from the perspective of postcolonial feminism. They are the representative of Chinese women in the Canadian society. The old generation's mother-in-law is the maintainer of Chinese patriarchal tradition, the mother is oppressed but not completely resisted, and the young generation is the resister of the male power. At home, they are Chinese men. Victims of the right system, and in society, they were oppressed by the mainstream of Canadian society. As the youngest generation of women, Zhu finally began to strive for their equal rights.
This study shows that Chinese culture can truly integrate into Canadian culture only by truly realizing race, class and sex. Chinese Canadians can truly integrate into Canadian society. "Jade peony", the symbol of Chinese traditional culture, can really take root in the different soil of Canadia.
【學(xué)位授予單位】：哈爾濱工業(yè)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I711.074

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