【作者】 唐海东；

【导师】 陈思和；

【作者基本信息】 复旦大学 ， 比较文学与世界文学， 2010， 博士

【摘要】 最近一个多世纪,美国在西方的中国形象史中扮演了特殊而重要的角色。美国文学中的中国题材作品一直层出不穷,成为中国形象的主要来源之一。本文即以这些用英语写作的中国题材作品为主要论述对象,探讨其中国形象的流变史、形成机制和传播效用。由于中国题材创作者包括了白人作家、华裔作家和中国移民作家这些具有不同文化身份的主体,而这些不同文化身份对其作品中的中国形象具有十分明显的制约作用,因而,本文将与塑造中国形象有关的美国英语文学分为“异域情调”、“故国想像”和“原乡记忆”三个组成部分,分别指代由白人作家、华裔作家和中国移民作家创作的相关中国题材作品,以及这些作品中传达的中国形象。全文分为上、中、下三编,分别论述异域情调、故国想像和原乡记忆。《导论》对西方的中国形象研究、美国的中国形象研究和美国文学中的中国形象研究这三个由外到内的不同层面上的中国形象研究进行了全面的课题史回顾,并列出了本文需要解决的主要问题和采用的主要研究方法。第一、六、十章是各编的“概述”,主要分析这三种不同类型的中国形象的演变轨迹。第二至五章讨论异域情调。第二章对中国形象制作史上一首划时代的诗歌、美国作家布勒特·哈特(Bret Harte)的《异教徒中国佬》("The Heathen Chinee")进行了全面而细致的解读,分析了这首艺术水准差强人意的诙谐短诗风靡全美并影响后世的深层社会根源。第三章分析了萨克斯·罗默的“傅满洲”系列小说,剖析了“黄祸”套话的生成原因、演变过程和主要内涵。第四章对赛珍珠的小说《大地》进行了重新解读,分析了小说展现的中国形象之特殊性和历史地位。第五章对约翰·赫塞的小说《孤石》和《召唤》进行了详细的文本分析,从科技殖民者和美国来华传教士的角度剖析他们的中国经验之于其制作的中国形象的关键作用。这四章中探讨的美国作家观察中国时所采取的角度各不相同,在写作时代上也大致构成了一种延续关系,他们的作品分别展示了异域情调中鄙视、恐惧、同情、沟通这四种对待中国的心理与行为模式。第七、八、九三章探讨故国想像。第七章以华裔文学中常见的唐人街叙事为切入点,探讨了水仙花和雷庭招两位与异国情调化的唐人街叙事进行对抗写作的现实主义作家的唐人街叙事作品。第八章以刘裔昌、黄玉雪、汤亭亭和赵健秀四位华裔作家的自传性作品为例,呈现了族裔自传中的中国形象,探究了族裔自传的创作机制及演变发展的文化历史动因。第九章分析了中国文化在华裔文学中的种种表现方式,追溯华美作家利用中国文化的个体和社会动机。第十一至十六章以历时的方式罗列了不同时期的原乡记忆。第十一章以李恩富、容闳、林语堂三位文化传播者的作品为例,分析早期西游学者作品中的中国形象。第十二章以德龄公主和黎锦扬两位作家为例,探究了商业化和娱乐化写作中体现的异国情调化的中国形象。第十三章介绍了一位以往被忽略的移民作家蒋希曾,并对他在海外进行的革命文学创作进行了文本内部和外部相结合的研究,厘清其作品中中国形象的来源和机制。第十四、十五两章分析了新移民中非常流行的英语文革写作,对其发展历程、主题、重点作品以及写作中的程式化倾向进行了分析,并将其与国内新时期的“伤痕文学”进行了比照研究。第十六章则专章介绍新移民作家中最有成就的哈金的创作,研究其作品中展现的几个不同时期的中国形象。通过对大量中国题材作品的讨论、分析和归纳,本文在第十七章《综论》中指出,写作语言及其蕴含的目标读者的期待视野、作品创作时的社会历史语境以及作者身份这三点是决定某个特定中国形象的最主要的原因。在美国文化语境中,制作者身份是指种族、族裔以及性别这三种主要的身份标志,当然,作者的社会阶层、政治倾向、职业特征、采用的文类的特点、作者在中国的境遇等等因素,也对他塑造中国形象有直接的影响。本文认为,某一时期的中国形象既主要反映了美国文化内部的动力结构,又在一定程度上反映了中国的某些真实信息,而中国形象的演变既不能仅仅归因于中国自身事实上存在的历史性变化,也不能仅仅归因于作为形象制作者的“美国”自身文化结构的变化,而是这两者之间错综复杂、变动不居的联合作用和互动关系。中国形象是一面镜子,一面并不光滑的镜子,从中可以照见美国社会、文化和具体创作者自身的面相；但中国形象也是一块毛玻璃,透过它可以隐隐约约照见许多中国的真相。形象学既不是纯粹的社会科学,也不是纯粹的人文科学。对中国评论者而言,如何对待中国形象,是一个不小的考验：他既要坚守人文学科固有的价值关怀,又要遵守社会科学不可或缺的实证性和客观性。从某种程度而言,批评者是形象传播路程的最后一环,也是关键一环。更多还原

【Abstract】 The American literature of the past one and a half centuries has witnessed a steady flow of works of China-related subject matters, making itself one of the main sources in the framing of the China image in USA. Considering the different cultural identities of the writers of these works, which may supposedly have major impacts upon the making of certain China image in relevant works, the China-related works in question are thus classified into three groups, including works respectively written by Caucasian, Chinese-American and Chinese immigrant writers. This dissertation is designed to trace the development of the China image within each group, the mutual impacts of the China images among different groups and the motivation as well as the dynamics behind the making of a specific China image.The dissertation is divided into three parts, respectively dealing with works written by Caucasian, Chinese-American and Chinese immigrant writers.In "Introduction", the author gives a detailed retrospection of the history concerning studies in the fields of the China image of the West, the USA and the American literature. In doing so, the author makes clear the major issues that this dissertation is to tackle and the approaches it is to take.Part One (Chapter 1-5) explores the China image in literature of Caucasian American writers. After a general survey in Chapter 1 of the evolution of the China image in Caucasian writings, a joking poem by Bret Harte titled "The Plain Language of Truthful James"(more widely known as "The Heathen Chinee") is given detailed analysis in Chapter 2, so that the reader may have a better understanding of the social-political context of the forming of the famous "Heathen Chinee" stereotype and its long-standing legacy. Then, with the discussion of the Fu Manchu stories by Sax Rohmer in Chapter 3, the author tries to trace the origin and development of the popular "Yellow Peril" discourse. In Chapter 4 and 5, efforts are made to analyze the China image in the novel The Good Earth by Nobel laureate Pearl S. Buck and the work of the China-born American writer John Hersey, in order to provide the reader with an all-around inspection of images of both immigrant and domestic Chinese people.Part Two (Chapter 6-9) centers on works by Chinese-American writers. A gain, Chapter 6 is a general survey of China image in such writings. Chapter 7 discussed the realistic representation of the Chinatown life in the works of the Eurasian female writer Sui Sin Far (Edith Eaton) and the Chinese America n writer Louis Hing Chu. Chapter 8 explores the significance of a widely-adop ted genre, ethno-autobiography, in Chinese-American literature. The last chapter of this part, Chapter 9, is about the function and image of the omnipresent Chinese cultural elements in Chinese-American writings.Part Three (Chapter 10-16) lists chronologically the China image in immigrant writings of different ages. There are works with the aim of cultural communication by intellectuals such as Lee Yan Phou, Yung Wing and Lin Yutang; there are also market-oriented writings aiming to exoticism-fascinated western readers such as the novels by Princess Der-ling and C. Y. Lee. Special attention is given in Chapter 13 to render a much-forgotten leftist immigrant writer H. T. Tsiang and his works into spotlight for a delayed evaluation. The next two chapters are centered on the China image in Cultural Revolution narratives by New Immigrant writers. Chapter 16 focuses on the writings of Ha Jin, the most influential new immigrant writers in recent years.In Chapter 17 (Conclusion), the author believes that writing language and the corresponding choice of target reader, the social-political context of a certain work and the cultural and other identities of the writer, are the three most important factors in the making of a certain China image. In American cultural context, identity of the writer mainly refers to his/her racial, ethnic and gender role, though factors such as the writer’s social position, political tendency, profession and his/her Chinese experience may also play a part in the fomulation of the China image.The author of this dessertation believes that a China image mainly mirrors the internal dynamics of the American culture, yet it also carries more or less some factual information of China. Therefore, the evolution of the China image in American literature could neither be solely attributed to the change of the Chinese society, nor that of the American society, rather, it is the joint functioning of the complicated interation of both societies. In this sense, the China image could be regarded as a mirror from which the desire of the American culture is reflected; and it is also a piece of rough glass from which one might view some of the real aspects of the Chinese culture and society.更多还原