小說《骨》中美籍華人身份建構(gòu)的后殖民主義解讀
發(fā)布時間：2018-09-18 17:22
【摘要】：1993年，美國華裔作家伍慧明以其處女作《骨》一炮走紅于美國文壇。故事發(fā)生在舊金山華人街，主要圍繞梁家展開：媽和利昂以及三個已經(jīng)長大的女兒萊拉、安娜和尼娜。故事不可避免的涉及到了老一代華人與年輕華裔之間的沖突和矛盾和美籍華人在美國所遭受到的排斥和種族歧視。與之前那些傾向于在中美兩種文化之間必選其一的移民文學(xué)或華裔美國文學(xué)作品不同，《骨》注重在這兩種文化間找到一個“第三空間”，即一種變化不定的混合傳統(tǒng)生活，，能夠兼容華裔在美國的痛苦經(jīng)歷和他們的民族傳統(tǒng)。 盡管美籍華人有別于那些曾淪為帝國主義奴隸的美洲印第安人、非洲土著人種，從未被帝國主義所奴役。但是華人在生活中卻面臨著與他們類似的困擾：歷史記憶的缺失，身份危機，邊緣地位，因而后殖民主義批評理論同樣適用于華裔美國文學(xué)作品的解讀。在后殖民主義理論框架下，本文運用后殖民身份認同和王靈智教授對華裔散居者心態(tài)的劃分兩個理論來分析伍慧明小說《骨》中三代人對于自己身份的動態(tài)的建構(gòu)過程。本文認為由于三代人在美國的經(jīng)歷不同，他們對于自己的文化身份各自持有不同的態(tài)度，但不管是哪種心態(tài)，美籍華人都只有在經(jīng)歷在傳統(tǒng)文化與美國文化中掙扎的窘境之后才能準確定義和建構(gòu)自己的身份。老一代華人梁爺爺恪守中國傳統(tǒng)，終身操勞也沒有實現(xiàn)落葉歸根的愿望。第二代華人，成長于社會的轉(zhuǎn)型期，既無法擺脫上代的影響，也無法逃離美國主流社會的壓迫和歧視，一直在努力建構(gòu)自己的身份。新一代華裔從小接受美式教育和文化，了解中國文化的來源只有父母和唐人街，這就引發(fā)了他們對自我文化身份的新的思考。利昂一家的居住地—唐人街在某種意義上代表了傳統(tǒng)的中國文化。一味恪守傳統(tǒng)，或者一味逃離傳統(tǒng)，都不利于華裔身份的重建。美籍華裔只有接受自己的雙重文化背景，努力建立一種“你中有我，我中有你”的新型模式，才能真正解決其身份困惑，建構(gòu)自己獨立合適的文化身份。
[Abstract]:In 1993, Wu Huiming, a Chinese American writer, became famous in American literature for her first work, Bone. The story takes place on San Francisco's Chinese Street and revolves around the Liang family: mother and Leon and three grown up daughters Lila, An Na and Nina. The story inevitably involves the conflicts and contradictions between the older generation of Chinese and young Chinese, and the exclusion and racial discrimination of Chinese Americans in the United States. Unlike the previous immigrant literature or Chinese-American literature, which tended to choose between the two cultures, Bone focused on finding a "third space" between the two cultures, a mixed traditional life of uncertainty. Compatible with the suffering of Chinese in the United States and their national traditions. Although Chinese Americans were different from American Indians who had been slaves to imperialism, African aborigines were never enslaved by imperialism. However, the Chinese are faced with similar problems in their life: the loss of historical memory, the identity crisis, and the marginal position, so the theory of post-colonial criticism can also be applied to the interpretation of Chinese American literature. Within the framework of postcolonial theory, this paper uses the two theories of postcolonial identity and professor Wang Lingzhi's division of the mentality of Chinese diaspora to analyze the dynamic construction process of the three generations' identity in Wu Hui-ming 's novel "Bone". This paper argues that because of the three generations' experiences in the United States, they have different attitudes to their own cultural identity, but no matter what kind of mentality they have, Chinese Americans can define and construct their identity accurately only after they have experienced the dilemma of traditional culture and American culture. The older generation of Chinese grandfather Liang adhere to the Chinese tradition, lifelong labor did not achieve the desire to return to the roots of the fallen leaves. The second generation of Chinese, who grew up in the transition period of the society, could not get rid of the influence of the previous generation, nor could they escape the oppression and discrimination in the mainstream society of the United States, so they have been striving to construct their identity. The new generation of Chinese received American education and culture from an early age and learned that Chinese culture came from only parents and Chinatown, which led them to think about their own cultural identity. The Chinatown, the Lyons' residence, in a sense represents traditional Chinese culture. Blindly adhering to tradition, or blindly escaping from tradition, is not conducive to the reconstruction of Chinese identity. Only when Chinese Americans accept their own double cultural background and try to establish a new model of "you and I have you" can they really solve their identity confusion and construct their own independent and appropriate cultural identity.
【學(xué)位授予單位】：西安電子科技大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I712.074
本文編號：2248601
[Abstract]:In 1993, Wu Huiming, a Chinese American writer, became famous in American literature for her first work, Bone. The story takes place on San Francisco's Chinese Street and revolves around the Liang family: mother and Leon and three grown up daughters Lila, An Na and Nina. The story inevitably involves the conflicts and contradictions between the older generation of Chinese and young Chinese, and the exclusion and racial discrimination of Chinese Americans in the United States. Unlike the previous immigrant literature or Chinese-American literature, which tended to choose between the two cultures, Bone focused on finding a "third space" between the two cultures, a mixed traditional life of uncertainty. Compatible with the suffering of Chinese in the United States and their national traditions. Although Chinese Americans were different from American Indians who had been slaves to imperialism, African aborigines were never enslaved by imperialism. However, the Chinese are faced with similar problems in their life: the loss of historical memory, the identity crisis, and the marginal position, so the theory of post-colonial criticism can also be applied to the interpretation of Chinese American literature. Within the framework of postcolonial theory, this paper uses the two theories of postcolonial identity and professor Wang Lingzhi's division of the mentality of Chinese diaspora to analyze the dynamic construction process of the three generations' identity in Wu Hui-ming 's novel "Bone". This paper argues that because of the three generations' experiences in the United States, they have different attitudes to their own cultural identity, but no matter what kind of mentality they have, Chinese Americans can define and construct their identity accurately only after they have experienced the dilemma of traditional culture and American culture. The older generation of Chinese grandfather Liang adhere to the Chinese tradition, lifelong labor did not achieve the desire to return to the roots of the fallen leaves. The second generation of Chinese, who grew up in the transition period of the society, could not get rid of the influence of the previous generation, nor could they escape the oppression and discrimination in the mainstream society of the United States, so they have been striving to construct their identity. The new generation of Chinese received American education and culture from an early age and learned that Chinese culture came from only parents and Chinatown, which led them to think about their own cultural identity. The Chinatown, the Lyons' residence, in a sense represents traditional Chinese culture. Blindly adhering to tradition, or blindly escaping from tradition, is not conducive to the reconstruction of Chinese identity. Only when Chinese Americans accept their own double cultural background and try to establish a new model of "you and I have you" can they really solve their identity confusion and construct their own independent and appropriate cultural identity.
【學(xué)位授予單位】：西安電子科技大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I712.074
【參考文獻】
相關(guān)期刊論文 前1條
1 王寧;敘述、文化定位和身份認同——霍米·巴巴的后殖民批評理論[J];外國文學(xué);2002年06期
相關(guān)碩士學(xué)位論文 前1條
1 夏花;與過去協(xié)商—伍慧明作品《骨》中文化身份的形成[D];遼寧師范大學(xué);2010年
本文編號：2248601
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