本文選題：美華文學(xué)　切入點(diǎn)：移民小說　出處：《河南大學(xué)》2013年博士論文

【摘要】：廣義的美華文學(xué)不僅包括美國華文文學(xué)，還包括美國華裔用英文創(chuàng)作的文學(xué)。這樣，就形成了三大作家群：臺灣旅美作家群、大陸新移民作家群和美國華裔作家群。把這三大作家群一起納入研究范圍，研究其移民小說中的中國形象和美國形象，主要是基于以下兩方面的考慮：一是三大作家群展開比較的學(xué)理依據(jù)。作家作品的同源性、類同性及異質(zhì)性與變異性決定了他們的可比性。二是目前的研究現(xiàn)狀及存在的問題。由于學(xué)科細(xì)分，美國華文文學(xué)與美國華裔英語文學(xué)分屬不同的學(xué)科，兩者很少放在一起對比研究。目前的形象學(xué)研究大多側(cè)重于中國形象，只有少量的美國形象，缺少中美形象的比較、匯總。移民小說中美形象的研究有助于彌補(bǔ)學(xué)界在這方面的不足，中國形象的研究有助于參與到學(xué)界當(dāng)前的前沿性話題中去。從文學(xué)文化層面探索移民問題和中美政治關(guān)系，對中美文學(xué)文化的交流有一定的現(xiàn)實(shí)意義。 在研究方法上，以比較文學(xué)形象學(xué)和主題學(xué)為主，輔以拉康鏡像理論、后殖民主義文化理論、弗洛伊德精神分析和女權(quán)主義等。在比較文學(xué)的視域下，，通過對異質(zhì)文明、文化語境下產(chǎn)生的移民小說的研究，分析形形色色的中美形象的特征和建構(gòu)過程，并分析中美形象的成因，試圖發(fā)現(xiàn)具有雙重文化背景的美華作家言說中國和美國的特點(diǎn)。 創(chuàng)新之處體現(xiàn)在以下兩個方面：（一）采用廣義上的美華文學(xué)的定義，把三大作家群一起納入研究范圍，對移民小說中的中美形象同時展開論述，梳理了中國形象和美國形象的流變并做了原因探析。（二）文學(xué)/文化研究。通過對三大作家群移民小說中的中美形象的比較，深入剖析其中的深層文化內(nèi)涵。 下面簡要介紹三大作家群移民小說中的中美形象。首先，臺灣旅美作家的浮萍悲歌。二十世紀(jì)五六十年代崛起的臺灣旅美作家主要有白先勇、聶華苓、於梨華、陳若曦、施叔青、叢蘇等，他們的移民小說有個共同點(diǎn)：表現(xiàn)了流浪的中國人的悲涼心態(tài)。小說中的人物從臺灣自我放逐到美國，就像浮萍一樣在美國的汪洋大海里隨風(fēng)擺蕩，無法落地生根，于是出現(xiàn)了“無根的一代”，浪子，邊緣人，擺蕩的人，帶枷的自由人等中國移民形象。他們有著身份的焦慮，在美國被邊緣化，常常尋根。美國人很少出現(xiàn)在小說中，小說中的美國人常常是負(fù)面形象。異族婚戀常常以失敗告終，象征了中美融合的失利。總體來說，中國是貧窮落后的農(nóng)業(yè)國，美國是現(xiàn)代化的工業(yè)強(qiáng)國；中國是精神家園，而美國是生存之地；遙遠(yuǎn)的中國因中國游子的想象而變得富有詩意，而美國對移民來說則是文化沙漠。 所以會有這樣二元對立的中美形象，是因?yàn)槲幕J(rèn)同危機(jī)。懷著美國夢卻不能很快適應(yīng)當(dāng)?shù)匚幕樌谌朊绹�，由此產(chǎn)生失望、孤獨(dú)、困惑、迷惘等消極心態(tài)，筆下的美國形象也呈現(xiàn)灰暗的色調(diào)。而文化認(rèn)同危機(jī)與他們的身世有關(guān)。這些作家在早年從大陸放逐臺灣，成人后又再次放逐到異域，這種經(jīng)歷讓他們對故國充滿哀思，對美國有寄居之感。浪子的形象是自身的寫照。當(dāng)時美國的移民政策、民族政策等影響了美國社會對移民的態(tài)度，也影響了移民對美國的看法及中美形象的形成。 其次，大陸新移民作家的美國鏡像。二十世紀(jì)八九十年代，大陸新移民作家查建英、嚴(yán)歌苓、周勵、曹桂林等，寫下一系列有關(guān)新移民美國經(jīng)驗(yàn)敘述的小說。除了繼承前一階段關(guān)于移民漂泊異域的悲苦的描述，還開拓了新的表現(xiàn)領(lǐng)域，塑造了朝氣蓬勃的新移民形象。如查建英的“假洋鬼子”們，嚴(yán)歌苓的自尊自強(qiáng)的中國女留學(xué)生，周勵、曹桂林和薛海翔等的華商形象。新移民不再糾纏于故國哀思，無根尋根等，而是生存至上，落地生根，保持族群的獨(dú)立，對民族融合表現(xiàn)淡漠。與前一階段華文文學(xué)相比，這一時期反映異族交往的小說增多，美國人戲份增加，美國形象多呈中性或正面形象，反映了民族融合的進(jìn)一步加強(qiáng)。這時的中國處于“文革”前后，而美國富強(qiáng)、民主、文明，為新移民的成功搭建了一個很好的平臺。 中美形象的轉(zhuǎn)變一方面是因?yàn)闀r代大環(huán)境的改變，中美友好交往，美國的民族政策、移民政策日趨寬容，種族歧視程度減輕，美國對中國移民持友善態(tài)度，這影響了作家對中美形象的塑造；另一方面是大陸新移民作家沒有臺灣旅美作家的早年放逐經(jīng)歷，但經(jīng)歷了“文革”的摧殘，在改革開放的鼓動下，到美國尋夢。雖然也免不了文化沖突，但沒有臺灣旅美作家所遭遇到的文化沖突劇烈。作為注視者的作家有的對美國持狂熱態(tài)度，如周勵；但更多的作家等則持親善的態(tài)度，如查建英、嚴(yán)歌苓。 第三，美國華裔作家的身份認(rèn)同。黃玉雪、譚恩美、湯亭亭、任璧蓮等的小說反映了生活在美國的華人第一代與后代之間的代際沖突問題，華裔的成長主題。代際沖突中的華人第一代大多勤勞善良，固守中國文化傳統(tǒng)，有封建迷信思想和重男輕女觀念等，而華裔美國人則處于中美文化的夾縫間，但以美國文化為主，他們與父輩的沖突大多是文化沖突。華裔美國人的成長過程就是美國化的過程，他們最終都變成了典型的美國佬。這里的中國要么處于近代社會，經(jīng)濟(jì)落后，戰(zhàn)爭頻仍，民不聊生，雖然歷史悠久，文化燦爛，但封建思想桎梏著人們，父權(quán)制思想壓迫女性；要么是紅色新中國，共產(chǎn)黨迫害有產(chǎn)者，不講人道，專制獨(dú)裁。美國雖然有種族歧視，但沒有饑餓，沒有戰(zhàn)爭，國富民強(qiáng)。 所以會有不同于華文作家筆下的中美形象，一方面與華裔美國作家的身份認(rèn)同有關(guān)。他們雖然在種族上是中國人，但在文化身份上早已變成了美國人，有些作家有妖魔化中國的趨向。另一方面，由于很長一段時間內(nèi)中美之間的信息不通，真實(shí)的中國不為美國所了解。華裔作家根據(jù)道聽途說所描述的中國，必然與真實(shí)的中國有很大出入。總體而言，華裔美國作家書寫想象中的中國，認(rèn)同現(xiàn)實(shí)中的美國。 以上三大作家群有一些共同的母題，也有各自偏愛的母題。母題的變奏表現(xiàn)了不同的時代主題，產(chǎn)生了相似而又不同的中美形象。中美形象有它的恒定性和變異性。恒定是因?yàn)樗咝蜗笫巧鐣w想象物。變異的原因是多方面的，是時代環(huán)境、作家的身份認(rèn)同、寫作語言、期待視野與審美情趣等合力作用的結(jié)果。 大陸新移民文學(xué)繼承、發(fā)展了臺灣旅美文學(xué)。臺灣旅美作家還在繼續(xù)創(chuàng)作，顯示了新的審美風(fēng)格。這兩大作家群逐漸合流，成為新世紀(jì)的美國華文文學(xué)作家群，與美國華裔英文作家群比肩而立。目前來看，他們的小說創(chuàng)作還有很大區(qū)別。但可以設(shè)想，在美國定居多年以后的移民作家即使仍然用中文創(chuàng)作，也會與華裔作家的英文小說接近。因?yàn)槎嗄甑拿绹幕諘绊懽髡叩膭?chuàng)作思維，使中文創(chuàng)作帶上美國文化的痕跡，成為中美文化合流的產(chǎn)物。 總之，美國不是天堂，而中國也不是地獄。那些或天堂或地獄的異國形象都是作家藝術(shù)的想象，是中國移民或華裔美國人欲望與恐懼的夢鄉(xiāng)。
[Abstract]:The generalized Chinese literature includes not only the Chinese American literature, including Chinese American literary creation with English. Thus, it has formed three groups of Writers: Taiwan Chinese American writers, new immigrants writers and Chinese American writers. The three writer groups together into the research scope, research on the immigrant novels the Chinese image and the image of the United States is mainly based on the following two aspects: one is the three groups of writers expand academic basis for the comparison. The homology of writers, similarity and heterogeneity and variability determines their comparability. The two is the current research status and existing problems. Because of the discipline segmentation of American Chinese literature and Chinese American English literature belong to different disciplines, they rarely put together a comparative study. China researches mainly focus on the image of the current image, only a small amount of the image of the United States, the lack of beauty in form As a comparison, summary. Research on Immigrant Fiction image of China and the United States will help compensate for the lack of academic research in this area, Chinese image helps to participate in academic frontier topics in current exploration. Immigration and Sino US political relations from the literary and cultural level, has a certain practical significance on Chinese and American literature and culture the exchange.
In research methods, the image of comparative literature and theme based, supplemented by Lacan's mirror theory, postcolonial theory, Freud psychoanalysis and feminism. Under the perspective of comparative literature, based on the study of heterogeneous civilization, said the small immigrant cultural context, analysis of the characteristics and construction process of the image of China the analysis of the causes of every hue, and the image of China and the United States, trying to find the dual cultural background of speech features of Chinese American writers Chinese and the United States.
The innovations embodied in the following two aspects: (a) the definition of the generalized on Chinese literature, the three writers together into the scope of the study, the image of Central American immigrants in the novel also discussed, combing the Chinese rheological image and the image of the United States and the reason of analysis. (two) literature / culture the research. Through the comparison of the image between three groups of writers of immigration in the novel, analyze its deep cultural connotation.
The following is a summary of the image of the three Sino US writers immigrants in the novels. Firstly, the Taiwan writers' duckweed elegy. In twentieth Century 50s and 60s the rise of the Taiwan Chinese American writers are Bai Xianyong, Nie Hualing, Yu Lihua, Chen Ruoxi, Shi Shuqing, Cong Su, their immigrant Novels have a common point: the pessimistic wandering Chinese the characters in the novel from Taiwan self exile to the United States, the same as duckweed in the United States with the ocean in the swing, so there can not air plant, "rootless generation", the prodigal son, edge, swing, shackled free people Chinese immigrants. They have the identity of the anxiety in the United States has been marginalized, often roots. Americans rarely appear in the novel, in the novel the Americans are often negative image. Interracial marriage often ended in failure, a symbol of fusion between China and the United States lost. Generally speaking, China is a poor and backward agricultural country. The United States is a modern industrial power. China is a spiritual home, while the United States is a place of existence. Distant China is poetic because of the imagination of Chinese tourists, while the United States is a cultural desert for immigrants.
So there will be two yuan this image Sino US confrontation, because of cultural identity crisis. With the American dream but not quickly adapt to the local culture, smoothly into the United States, resulting in disappointment, loneliness, confusion, confusion and negative attitude, the image of the United States under the pen also showed dark color and their cultural identity crisis. The story of these writers. In the early years of exile in Taiwan from the mainland, adult again after the exile to the exotic, these experiences make them full of grief to the motherland, a sense of living to the United States. The prodigal image is its portrayal. At that time the United States immigration policy, national policy influenced American society's attitude to immigration. The formation of immigrants also affect the perceptions of the United States and the image of China and the United States.
Secondly, the image in the new immigrant writers. In twentieth Century 80s and 90s, the new immigrant writer Cha Jianying, Yan Geling, Zhou Li, Cao Guilin, wrote a series of new immigrants in the United States experience narrative novels. In addition to a former stage on the description of the miserable inheritance immigrants wandering exotic, also opened up a new field, shape the new immigrant images full of youthful spirit. Such as Cha Jianying's "false foreign devil", China female student, her self-esteem and Zhou Li, the Chinese image of Cao Guilin and Xue Haixiang. New immigrants no longer entangled in it in grief, no root roots, but survival first, keep ethnic independence, air plant, the nation the fusion expression of indifference. Compared with the previous stage of Chinese literature, this period reflects the alien communication novels increased, American scenes increased, the image of the United States is a neutral or positive image, reflecting the people The fusion of nationalities is further strengthened. At this time, China was in the front of the "Cultural Revolution", and the United States became prosperous and strong, democratic and civilized, which set up a good platform for the success of new immigrants.
Change the image of China and the United States on the one hand is because the era of great changes in the environment, friendly exchanges between China and the U.S., the U.S. national policy, immigration policy is to reduce the degree of tolerance, racial discrimination, the United States held a friendly attitude to Chinese immigrants, which affected the shape of the image of the American writer; on the other hand, the new immigrant writer not Taiwan Chinese American writer in exile experience, but the experience of the "Cultural Revolution" of the destruction, at the instigation of reform and opening up, to the American dream. Although cannot avoid cultural conflict, but no cultural conflict in Taiwan Chinese American writers encountered severe. As at the writer for the United States to some enthusiastic attitude, such as Zhou Li; but more writers so hold friendly attitude, such as Cha Jianying, Yan Geling.
Third, Chinese American writers' identity. Topaz snow, Amy Tan, Kingston, Gish Jen's novel reflects the problems such as conflicts between the Chinese living in the United States and the first generation of offspring, the theme of growth. Chinese intergenerational conflict in the first generation Chinese are hardworking and kind-hearted, stick to the China cultural tradition, a feudal superstition and sex, and Chinese Americans in the crevice between Chinese and American culture, but in American culture, conflict with their parents are mostly cultural conflict. The growth process of Chinese Americans is American, they eventually become a typical American. China here or in the modern society, backward economy. The war, The people are destitute., although has a long history, splendid culture, but the feudal shackles people, patriarchal oppression of women; either red new Chinese, Communist persecution The haves, inhumane, dictatorship. Although the United States is racist, but no hunger, no war, strong and rich.
So there will be different from the image of Sino US Chinese writers, on the one hand and the Chinese American writer identity. Although they are ethnically Chinese, but in cultural identity had become Americans, some writers have demonized China trend. On the other hand, due to a long period between time of Sino US information is not true for the United States, Chinese not understand. Chinese writer described Chinese according to hearsay, inevitably has the very big discrepancy with the real China. Generally speaking, Chinese American writers imagined Chinese, the reality of American identity.
The above three groups of writers have some common motif motif, but also have their own preference. The motif variation developed the theme in different times, the image of China. Similar but different image of China and the United States has its constancy and variability is constant. Because the image of the other is the social collective like. The reason for the change is in many aspects, is the era of environment, the writer's identity, writing language, horizon of expectations and aesthetic force effect.
New immigrants literature inheritance, the development of the Taiwan Chinese American literature. Taiwan based writer continues writing, shows the new aesthetic style. The two writers gradually combined, become the new century of American Chinese literature and Chinese American writers, writers English. Now they stand shoulder to shoulder, the novels are very different. But we can imagine, settled in the United States after many years of immigrant writers still use even Chinese creation, also with the Chinese writer English novel close. For many years because of American culture will affect the author's creative thinking, make the creation with American culture traces, become the product of Sino US cultural confluence.
In short, the United States is not a paradise, nor is China a hell. Those exotic images of heaven or hell are all writers' artistic imagination. They are dreams of desire and fear for Chinese immigrants or Chinese Americans.

【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2013
【分類號】：I106.4

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