【摘要】：譚恩美因處女作《喜福會(huì)》而一舉成名，成為當(dāng)代美國(guó)的暢銷作家。作為一名華裔女作家，繼湯婷婷之后，她成功躋身于美國(guó)主流文化圈，自此，美國(guó)出版商開始把目光轉(zhuǎn)向華裔作家，而其作品更多的進(jìn)入主流社會(huì)并掀起一股華裔文學(xué)熱。作者憑借其高超的敘事技巧及運(yùn)用被評(píng)論家稱為“講故事的高手”（喜福會(huì)，2006：前言），，而小說被譽(yù)為“閃爍著寶石般的光芒”（喜福會(huì)，2006：前言） 《喜福會(huì)》獲得廣大讀者喜愛，其主要原因在于小說中講述的故事與在美國(guó)生活的華裔女性有許多相似之處，容易引起共鳴。女性主義敘事理論的巧妙運(yùn)用，讓小說中的女性活躍于紙間并占據(jù)敘事聲音的主導(dǎo)地位。（蘇珊，蘭瑟，1992:300）女性主義敘事學(xué)將形式分析與意識(shí)形態(tài)有機(jī)結(jié)合，從而彌補(bǔ)了女性主義文評(píng)與結(jié)構(gòu)主義敘事的不足之處。在女性主義敘事經(jīng)典之作《虛構(gòu)的權(quán)威》中，蘇珊.蘭瑟提出，為平衡不同的讀者群之間的關(guān)系，三種類型的敘事聲音可以用來幫助女性作家建立聲音的權(quán)威。華裔女性作家因處于男性統(tǒng)治的壓制之中，巧妙地采用聲音技巧可以使故事中的女性確立社會(huì)地位，奪回合法權(quán)利并解構(gòu)男性話語(yǔ)。 本文試圖從女性主義敘事學(xué)角度深入探討《喜福會(huì)》的敘事聲音，著重分析作者型敘事聲音，個(gè)人型敘事聲音和集體型敘事聲音的功能意義以及作者是如何通過不同的敘事聲音來達(dá)到建立女性敘事權(quán)威的目的。文章前兩章先回顧《喜福會(huì)》的眾多評(píng)論，重點(diǎn)對(duì)小說、作者及敘事理論做一個(gè)簡(jiǎn)練的解說。第三章，作者型敘事聲音恰如其分地引導(dǎo)著故事人物的思想走向,潛移默化地影響著讀者的思維意識(shí)。第四章，個(gè)人型敘事聲音使長(zhǎng)期被忽視的女性能夠自由地為他們的思想觀念和行為做辯解。第五章，集體型敘事聲音使歷經(jīng)過類似悲慘遭遇的人群共同發(fā)出震撼的聲音并使得女性的申辯更具說服力，亦洗刷了男性強(qiáng)加于身的污點(diǎn)。
[Abstract]:Amy Tan became famous for her debut, Joy Luck Club, and became the best-selling writer in contemporary America. As a Chinese woman writer, after Kingston, she has successfully entered the mainstream cultural circle of the United States. Since then, American publishers have turned their eyes to Chinese writers, and her works have more entered the mainstream society and aroused a wave of Chinese literature craze. The author is known by critics as a "master of storytelling" (Joy Luck Club, 2006: preface) for his superb narrative skills, while the novel is hailed as "gems" (Joy Luck Club, 2006: preface) The Blessed Club is popular with the general public. The main reason is that the story in the novel has many similarities with the Chinese women living in the United States. With the skillful application of feminist narrative theory, the women in the novel are active in the paper and occupy the dominant position of narrative voice. (Susan, Lanser, 1992: 300) Feminist narratology combines formal analysis with ideology, which makes up for the deficiency of feminist literary criticism and structuralist narrative. In the Feminist narrative classic the Authority of Fiction, Susan. In order to balance the relationship between different readers, Lanser suggests that three types of narrative sound can be used to help female writers to establish the authority of voice. Chinese female writers are under the suppression of male domination, and the skillful use of sound techniques can make the women in the story establish their social status, regain their legal rights and deconstruct male discourse. This paper attempts to probe into the narrative voice of the Joy Luck Club from the perspective of feminist narratology, with an emphasis on the analysis of the author's narrative voice. The functional significance of individual narrative sound and collective narrative sound and how the author establishes the female narrative authority through different narrative sounds. The first two chapters first review the numerous reviews of the Joy Luck Club, focusing on a concise explanation of the novel, author and narrative theory. In the third chapter, the author's narrative sound appropriately guides the thought trend of the story characters and influences the reader's thinking consciousness imperceptibly. In Chapter 4, individual narrative voice enables long-neglected women to defend their ideas and behaviors freely. In the fifth chapter, the collective narrative voice makes the people who have experienced similar tragic experiences make a shocking sound together, and makes the women's defense more persuasive. It also cleans up the stains imposed on the body by the men.
【學(xué)位授予單位】：江西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I712.074

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