族裔性与文学性之间

【作者】 刘增美；

【导师】 张杰；

【作者基本信息】 南京师范大学 ， 比较文学与世界文学， 2011， 博士

【摘要】 美国华裔文学作为多元文化运动的产物,是伴随美国亚裔研究学发展起来的。上个世纪60年代开始的民权运动在很大程度上是对“美国化”运动的反动,作为华裔群体建构身份、重构历史的手段,美国华裔文学是以反抗主流文化霸权的姿态出现的,批评也是建立在与主流文学二元对立基础上的。90年代之前,美国华裔文学批评与亚裔文学批评基本上保持同步。为了建构华裔文学之身份,70年代的亚裔文学选集和批评著作都突出了作家和作品的族裔性,华/亚裔情感与华/亚裔经验成为界定华裔文学的重要标准。但批评在突出“男性传统”和“共同经历”在建构身份中的作用的同时,却忽视了女性作家的存在和亚裔群体构成的差异性,带有明显的独白特点。自80年代开始,女性批评发展迅速,身份研究更多的与性别、阶级等联系在一起。进入90年代,亚裔文学创作更趋多样,批评视角也更加多元。“超民族主义”批评范式不仅跨越了国界、种族和性别界限,也不再阈限于作品表现的“美国经历”,作品的形式研究开始得到重视。然而,随着亚裔文学疆界的拓展,批评的重心逐渐转向南亚裔和东南亚裔作家,华裔作家特别是年轻一代作家没有得到应有的重视。尽管国内华裔文学批评在一定程度上弥补了这一缺憾,但受早期美国华/亚裔文学批评范式影响较大,国内批评仍存在研究内容集中和话语重复的不足,新移民作家的创作更对已有的华裔文学批评范式提出了挑战。论文结合哈金作品在国内外接受方面存在的差异,说明新移民作家创作的“中国故事”经过语言转换己成为“美国故事”,作品的族裔性与文学性的有机结合构成了作品独特的艺术魅力。梳理美国华裔文学批评的轨迹,评述不同时期批评范式的更迭转换及其原因,论文旨在说明,批评的意义不是为了得出一个明确的结论,而在于揭示文本可阐释的艺术空间,结论永远是未完成的,越是经典的文学文本,其意义就越是发掘不尽的。作为跨文化的文学文本,缺乏华裔性的文学文本,不能够算作真正的华裔文学,而缺乏文学性的文本也不可能成为美国文学的一部分。美国华裔文学的艺术性不仅体现在思想内容方面,也表现在作品的形式中。美国华裔文学批评不仅要重视作品的思想内容研究,也要重视作品的形式分析；既要从中国文化中寻根,也要从美国文化中溯源。只有超越二元对立的思维范式,走向二元融合,从族裔性与文学性融合的角度出发,美国华裔文学批评才能不断拓宽研究视野,避免走入“唯文化批评”的误区,回归文学批评的本来面目。更多还原

【Abstract】 Chinese American literature as an emerging genre develops with Asian American Studies. The Civil Rights Movement since the 1960s’was in part a response against the Americanization movement. Among the many voices of multiethnic literatures, Chinese American literature emerges as a way of establishing identity and reconstructing the history for the Chinese Americans. Since its inception, Chinese American literary criticism has been carried out on a binary basis as apposed to mainstream American literature.The 1970s’witnessed the role of the author’s origin and cultural sensibility in building up identity of the Chinese Americans, and critics paid more attention to the manhood aspect of Chinese Americans, neglecting the role Chinese American women play. From the 80s, identity study was more closely connected with gender and class. The 1990s saw the shift from the Nationalism paradigm to that of Transnationalism, national border crossed and the focus of criticism shifting from the content to the form of the literary texts. However, with the expansion of Asian American literature to the South Asian and Southeast Asian American writers, the younger generation of Chinese American writers and immigrant writers are neglected in criticism to a certain extent. As a result, there is a gap between Asian American literary studies and the fast development of Chinese American literature. Though Chinese American literary studies in China have gained a lot of achievements with many papers and monographs published, there still exist some drawbacks with most research centered on such women writers as Maxine Hong Kingston and Amy Tan, resulting in discourse repetitions due to the influence of the previous paradigm of Asian American literary criticism. Based on an analysis of criticism on Ha Jin’s works, Chapter IV intends to reveal that Chinese stories portrayed in the writings by immigrant writers are transformed into American stories when they are told in English.The significance of criticism does not mean to reach a fixed conclusion, but rather to expand the space of interpretation of a literary text. Conclusions can never be definitely drawn once and for all. The more classical the literary texts are, the more meanings people can explore in them. In light of the characteristics of Asian American literary criticism in different periods, the thesis aims at revealing the possible underlying reasons for the shift of focus from ethnicity to literariness in Chinese American literary criticism. Chinese American literature, as a kind of cross-cultural literary texts, can not be regarded as part of American literature if it is without literariness, nor can it be viewed as Chinese American literature if it does not embody ethnicity—its Chineseness at all. The ethnicity of Chinese American literature can be found both in its content and in its writing form. Therefore, Chinese American literary criticism is expected to combine the study of the content and that of the form together, taking into consideration of ethnic aspects and literary traits of the Chinese American literary texts. Only in this way can Chinese American literary studies go beyond the binary opposition, thus well combining literary studies and cultural studies together and avoiding going one way too far.更多还原