【作者】 周颖菁；

【导师】 於可训；

【作者基本信息】 武汉大学 ， 中国现当代文学， 2010， 博士

【摘要】 在全球化时代,跨越国界的“空间移位者”大规模出现。在中国当代文学评论中,对跨越国界的“空间移位者”创作的文学作品,曾冠以“华文文学”、“海外华文文学”、“世界华文文学”、“留学生文学”、“旅外文学”、“洋打工文学”、“域外文学”、“留洋文学”等名称。这些名称的重点虽然不同,或强调创作者身份,或强调地域特征,或强调写作语言,但此种观念却是相通的：认为作品是在中国以外的国家和地区创作的,属于中国本土以外的文学；创作者的身份被界定为域外的华人。这些名称都凸现出中西地域之隔,将中西切割成截然对立的两个空间,写作者被认定是身在异乡的中国客,写作是“写在家国之外”的行为。我认为,这些名称忽略了在全球化语境中更具流动性的现实存在：人们游走于中西之间,在居住国和出生国之间比较自由地流动,国籍和地域对他们不起限制性和决定性的作用。因此,本文使用了“跨文化写作”概念,目的是想突破空间对研究对象的限制,突出多元文化对写作者的交互影响。本文论述的是近三十年中国大陆背景女作家的跨文化写作,论述的作家包括查建英、严歌苓、刘索拉、陈丹燕、唐颖、张翎、周励、王蕤、朱晓琳、郁秀等。这些作家长期往返在“中国”和“他国”之间,“国界”对她们并不起限制作用。她们的法律身份或不相同,但拥有相同的中国血缘背景,出生国文化是她们看重的。并且,她们也有长期异国生活的体验,对“他者”社会和文化有切实的体验。她们的创作有明显的全球意识和文化对比意识,和单一文化背景下的写作相比,这些作家写作的主题、视角、风格都明显不同。多元文化对本文所论述的作家们的人生态度、价值选择、身份建构、文化观念、文学观念产生着复杂的影响。本文选取“中国”作为“女作家”的定语,主要是强调“中国”这一血缘背景,强调文化母体在空间“移位者”身份认定中起到的作用。中国血缘是作家们在自我身份认同中被强调的,在女作家们的自我身份表述中,她们对自己的中国血缘认同更强于法律身份认同。在她们的作品中,出生国为中国的人物的身份认定也大抵如此。本文所说的“大陆背景”,指作家出生地为中国大陆、成长在中国大陆,作家直接从中国大陆到他国。本文希望揭示近三十年中国大陆背景对女作家跨文化写作产生的影响。本文第一章分析了西方“他者”形象的确立。文化间的相互碰撞必然产生一种文化对另一种文化的想像。想认清“自我”,“他者”是重要参照系。中国对西方“怎么看”和“看什么”,也表现出中国对自我的想像方式。本文首先归纳了中国历史中的西方“他者”形象,目的是追寻近三十年女作家跨文化写作中西方形象的发生渊源。在中国历史上,西方形象主要以“套话”的形式出现,是时间性的历史产物。中国视角中的西方形象经历了空白化、离奇化、理想化、二分化、丑化等一系列变化。二十世纪八十年代左右,西方被本文所论述的女作家们塑造成了“救世主”的形象。通过对大量文本的细读,本文得出了以上结论。本文还分析了此形象产生的原因。西方“救世主”形象的产生,和上世纪八十年代前后中国“卡理斯玛”失范的文化精神状况有很大关系。其次,“救世主”形象的产生和以“他人”为镜确认自我、建构意义的现实需求有关,也和异国情调有关。西方“救世主”形象是中国特殊历史文化背景下的产物,带有幻想性的神话色彩,表现出文化解读过程中的误读和局限性。把一个“异质体”当成“救世主”,不可能解决中国社会发展中盘根错节的问题。本文第一章第三节从空间、跨语言文化交际活动中的对话、叙事这三个角度出发,分析女作家的作品怎样建构跨越国界后的中国人眼中的西方形象。从文化地理学中空间的角度分析,本文得出这样的结论：西方空间对中国血缘的空间移位者来说,没有文化根基,没有家园根基,是流离他乡者伤感情绪、不可知命运的承载物。中国血缘的空间移位者进入真正的西方之后,眼中的西方形象是强势的、冷酷的。强势的西方形象消解了移位者“越界”前对西方世界的幻想。本节还从作品中选取跨文化交际活动中的会话实例进行分析,认为近三十年来跨文化写作的女作家的作品中的“中西对话”有以下特点：违反“合作原则”、采用回避策略、不对称性、焦虑感,是有效性很低的交际活动,西方人和东方人之间并不存在真正意义上的交流。跨文化交际中东西方人的不同态度、立场、情感、策略是东西方关系的表现。从跨文化会话的例子我们可以看出西方对于东方的压制作用,看出东方面对西方时的弱者心态和表达困境。本节还以严歌苓的作品为例,从叙事的角度进行了分析。在严歌苓的一些作品中,当叙述者叙述“西方”时,存在视觉盲点和对自身话语权威否定的特点,“西方”是叙述者“看不清”和“说不出”的。从叙事的角度以严歌苓的作品为例进行分析,笔者得出了这样的结论：西方人对东方人来说,依然以“谜”的形式存在。西方对东方人来说,仍旧是一个空白的图景。并且,西方以其强势对东方人形成了压制,引发自我怀疑和灵魂扭曲。女作家们的创作说明,全球化的趋势并不能掩盖和解决民族、种族、国家之间的差异和矛盾。相反,近距离的接触,撕破了许多因距离而产生的温情面纱,使真实的差异和矛盾浮出水面。在对西方空白的、强势“他者”形象的塑造过程中,女作家们逐渐抛弃了对西方虚幻性的浪漫情感,沉入到复杂冷酷的现实中去。本文第二章论述在近三十年中国大陆背景女作家跨文化写作中的中国形象。女作家作品中的中国形象塑造,是在自我与他者比照的动态关系中进行的。近三十年中国大陆背景女作家跨文化写作中对中国形象的塑造各不相同,本章对张翎的“古典中国”、虹影等人的“悲剧中国”、刘索拉的“荒诞中国”、陈丹燕“自我东方主义阴影下”的中国形象进行了分别论述。笔者选择这几类中国形象进行论述,主要是因为这几类中国形象的塑造角度很不相同。从这几类差异很大的“形象”中,我们可以看出中国人在文化碰撞时对血缘国差异很大的反观视角和文化反思样式。如果说跨文化背景的女作家对“西方”形象的塑造可以用“空白”字概括,那么她们对“中国”形象的塑造则表现出了“分裂”的特点：作家们看“中国”的角度不同,所持的态度不同,情感不同,塑造出的中国形象大相径庭。从中国形象的分裂性,我们可以看出中国进入近代以来中国文化分裂性对中国血缘作家的持续影响,以及相同血缘作家进入异文化后精神世界的不同转向,也反映出中国社会的复杂性。近三十年中国大陆背景女作家的跨文化写作,从多角度、多侧面揭示了中国国家历史、政治、文化的状况。她们对中国形象的塑造,是对西方视角下的中国形象的反拨,是确认个人血缘身份的途径,体现出第三世界国家在全球化世界中自我呈现和发声的意义。本文第三章分析了女作家作品中的身份问题。本章选取了两个角度考察女作家们作品中的身份问题：边缘人形象塑造和作品中的记忆问题。边缘人是一个“身份”处于“永不完结”的生产中的群体。近三十年跨文化背景女作家的作品中,有大量这样的“边缘人”形象：如临深渊,但不放弃思索,以个人之渺小承担中西文化碰撞的沉重主题,展现出丰富复杂的思维向度。边缘人现象说明,多质性和流动性使人们面临身份界定的困惑,但同时也获得了更大的生存和想像空间。此外,在身份寻找过程中,女作家们的写作表现出明显的记忆情结。记忆被作家们用来对抗孤独的异乡处境,也用来质疑和抗衡全球化神话。作家创作中对记忆的聚焦,可以说是在全球化语境中寻找精神家园的尝试。近三十年中国大陆背景女作家的跨文化写作是家国记忆和个人记忆的融合。女作家们在身份认同过程中把个人记忆和国家记忆、民族记忆结合在一起,作家们的个人记忆中有强烈的民族、国家意识。因此,女作家们写作表现出了“史诗性”和“抒情性”的结合。两者的结合也使作家们的记忆写作常常体现出悲凉和温馨、壮阔和柔美二元共生的美学内涵。不过,在记忆中,作家们并没有获得身份认同感,反而表现出了对历史的疑虑。女作家们的写作充分表达了对身份确认的需要,她们的写作过程本身也是探寻自我身份的过程。她们身份寻找的非终结性说明了在全球化时代身份是一个越来越开放的命题,也是一个处于建构过程中的命题。本文第四章论述了跨文化写作中的女性问题。近三十年中国大陆背景女作家的跨文化写作基本上都是以女性为主要写作对象的。跨文化背景为女性看待自己、寻找自身主体性提供了更广阔的平台。在中西接触的背景下,女作家们对中国女性身份和特质的挖掘新意迭出。其中,她们对中国女性传统精神的重新认识、对现代女性理性精神的发现尤其值得关注。中国女性传统精神和现代理性精神,表面上看,是对立的,矛盾的。但它们又具有本质上的相同性：都是以女性的独立和尊严为基础,强调女性的自主性。女作家们的写作给我们提供了中国女性形象建设的一种可能性：把传统坚韧、宽厚、仁慈和现代独立性、理性结合在一起,既有传统意义上女性的“阴柔”,又具有现代女性的思考力。就跨文化背景对女性写作的意义而言,跨文化使女性的写作视域得到拓展和深化,表现出女性对“宏大”叙事的参与能力,也表现出女性对国家、历史、政治、跨文化等重大命题的阐释能力。同时,她们的创作,也表现出女性视角下的“宏大”叙事的独特性。她们的创作表现出性别、种族、国家、民族经验的相关性。本文第五章论述了近三十年中国大陆背景女作家跨文化写作中的语言问题。语言与民族、国家、认同的关系日益受到重视。语言是全球化时代非常重要的个文化符号。本章首先通过文本分析的方法,得出这样的结论：在查建英、严歌苓、陈丹燕等人的作品中,中文和英文的关系和中国与西方的关系是同构的。以上作家作品中对汉语地位的表达,和边缘人的生存窘境、文化断裂、身份分裂、认同缺失等主题联系在一起。作家们对西方语境中中文地位的阐释角度各有不同,但有这样一个共同点：中文的使用、英语的不娴熟表现了小说人物面对西方时的“静默”,使用中文者的“静默”是中国血缘的空间移位者采用的无可奈何的回避策略,也是对在西方语境中从属阶层边缘化状态的隐喻。与中文在西方语境中的“静默”处境相对,近三十年跨文化写作的女作家们有明显的汉语写作意识。本文对女作家们的写作进行了整体上的考察,并做了许多细部分析,发现她们的写作注重对中国语言传统的继承,而不看重语言方面的试验性和先锋性。她们写作语言的“中国”特色,表现出了她们的语言归属意识,从中我们也可以看出作家的情感归属和文化归属。作家们的写作中还有使用方言的特点。方言延续祖先话语,作家们对方言的使用,使个人的族裔背景更加具体化,更加生动可感。近三十年中国大陆背景女作家的跨文化写作,从本质上看,是“中国人”在跨文化语境中看中国、看西方、看中西方接触等问题的写作。从跨文化角度看,女作家们笔下的中西形象、中西文化呈现出了特别的丰富性和复杂性。女作家们的写作反映出反本质主义的“分裂性”和“混杂性”。她们的创作执著于意义的寻找,充分体现出了忧患意识和真诚性。更多还原

【Abstract】 In the era of globalization, transnational space-shifters emerge in large numbers. In contemporary literary criticism in China, labels such as "Overseas Students’ Literature", "Overseas Chinese Literature", "Migrant Workers’Literature in Foreign Land", "Extraterritorial Literature", "Literature by Students Studying Abroad" and "Global Chinese Literature" have been given to literary works produced by "Space-Shifters" beyond the Chinese border. With varying emphasis, either on the author’s identity, or the territorial characteristics or the language used in the works, these labels have one thing in common:the idea that since the works have been produced beyond Chinese territory, they belong to that particular category of literature distinctive from that of native China and that the writers are identified as Chinese residing in foreign land. Such labels highlight the geographical separation of the East and West, cutting the world apart into two opposing spheres, and defining the writers as Chinese guests in alien land performing the act of writing "away from home and motherland."To the author of this dissertation, these labels show an overlook of the more mobile social reality in the context of globalization:people travel between east and west, moving freely between their motherland and the country of residence, so that neither nationality nor territory has much restrictive or decisive influence on them. By putting forward the concept of "transcultural writing", the dissertation aims at breaking through the restriction of space on literature study and highlighting the mutual influence of Chinese and Western culture on the writers.This dissertation studies the trans-cultural writing by Chinese women writers, including Zha Jianyin, Yan Gelin, Liu Sola, Cheng Danyan, Tang Yin, Zhang Ling, Zhou Li, Wang Rui, Zhu Xiaolin, and Yu Xiu, etc. in the last three decades. Traveling between China and other countries, the sense of "national boundary" have no restrictive power on them. Different as they are in legal identities, they have the same background of Chinese blood and the same love for Chinese culture. Moreover, with long experience of living abroad, they have a personal understanding of Other society and culture; their writing is characterized with the sense of globalization and cultural comparison. Their writing distinctly differs from the writing in monocultural context in theme, point of view and style. Multiculturalism exerts complicate influence on their attitude toward life, value preferences, identity construction, and cultural and literary ideas.Choosing "Chinese" as the modifier of "Women Writers", the dissertation aims to stress the writers’blood origin and the effect of the cultural matrix on the identity of space-shifters. Their Chinese origin is what the writers have emphasized in their identity construction and they have expressed through their narratives a stronger identification with their Chinese blood origin than with their legal identity. Generally, the China-born characters in their works follow the same pattern.The contact and clash between different cultures will inevitably cause cultural imagination, as "the other" is an important frame of reference for a clear understanding of "the self." Therefore how China views the West and what it chooses to view actually indicate the way it looks upon itself. Chapter I of the dissertation studies the construction of image of the West as "the Other." Firstly, the dissertation summarizes the images of West as "the Other" in Chinese history, aiming to trace the origin that had formed the basis of Western image in the transcultural writing of the Chinese women writers in the last three decades. In Chinese history, the image of the West emerged in "stereotypes" as the historical product of the different times. The Western image in the Chinese view has changed in turn from being a blank to being weird, idealized, dichotomized and demonized. Yet around 1980s the West was portrayed as the Messiah by the women writers discussed in this dissertation. The author of this dissertation has come to this conclusion through close reading of voluminous texts.In the dissertation the author has also analyzed the causes of such images. The image of the West as "Messiah" had much to do with the cultural and spiritual state of "charisma anomie" in China around 1980s. It also was related in part to the realistic need of meaning construction and self-recognition with "the other" as a mirror as well as yearning for exoticism. The West as "Messiah" is the product of special historical period in China. It carries a fanciful and mythical color, and reflects the misreading and limitation in the process of interpreting Western culture. However, taking an "heteroplasmon" as Messiah cannot be the solution to the complicated and entangled problems in Chinese society.In the third section of Chapter I the dissertation analyzes how the women writers’works construct the image of the West in the eyes of the Chinese emigrants from the aspects of space, dialogue in trans-lingual and trans-cultural communication and narrative.To the space-shifters with Chinese origin, the Western Space is the carrier of sentimentality and unknown destiny, providing for them no cultural root or homestead assurance. Moreover, the image of the West becomes dominating and cold when the space-shifters enter the real West, and it causes them to cast away the previous illusion about the West. This chapter has selected some instances of trans-cultural dialogues for analysis, and points out the following characteristics of the dialogues in the works by women writers in the last three decades:violation of the cooperative principle, taking the strategy of avoidance, asymmetry, and anxiety. It is a low-efficiency communication as there is no communication in the real sense between the Easterner and the Westerner. The different attitudes, stand, emotion and tactics represent the relationship between China and the West. From the examples of trans-cultural dialogue we can find the oppression of the East by the West and the weakling mentality and aphasia of the East when it encounters the West. This section also studies Yan Gelin’s works from the aspect of narrative and argues that in her narration there exist visual blind-spots and self-denial of discourse authority. The West is as invisible as unspeakable for the narrator. The author draws a conclusion from the narrative study of Yan’s works that the West still exists in the form of an enigma and remains a blank image for the East. Furthermore, the suppression of the Easterner by the West with its dominance causes the easterners’self-doubt and distortion of the soul.The writings by the women writers show that globalization cannot eliminate or settle the differences and disputes between different nationalities, races and countries. On the contrary, the close contact, tearing off the gentle veil, reveals the fact of difference and dispute. In the portrayal of the blank and dominating image of the West the women writers gradually discard their romantic feeling of the West and penetrate into the complex and cold reality.Chapter II discusses the image of China in the trans-cultural writings of Chinese women writers in the last three decades. The construction of the image of China is completed in the dynamic comparison between the Self and the Other. Yet the image of China portrayed by the women writers in the last three decades vary across their works. This chapter respectively discusses the images of "classic China" by Zhang Ling, "tragic China" by Hong Ying, "absurd China" by Liu Suola and "China in the shadow of self-Orientalism" by Chen Danyan. The author has selected these images for discussion primarily because of their distinctiveness from which we can understand the view and the way of Chinese reflection on cultural conflict. As the image of the West in the trans-cultural writings of the women writers can be summarized as blank, the portrayal of the image of China is characterized by division—the image of China in different works is widely divergent due to the writers’various views, attitudes and feelings. Through the division of China’s image we can perceive the lasting influence of China’s cultural division on the writers of Chinese origin since the middle of the eighteenth century, the different spiritual transformation of the writers of the same origin when they enter the world with alien culture as well as the complexity of Chinese society.The trans-cultural writings of women writers in the last three decades reveal from various angles and perspectives the history, politics and culture of China. Their construction of the image of China is a counter portrayal of image of China portrayed in the Western perspective, and is a means of recognition of cultural identity, giving meaning to self expression and occurrence the Third World countries in the process of globalization.Chapter III analyzes "identity "problem from two different perspectives, one is the marginal people,and the other one is memory. It is held in this dissertation that the marginalized in the works by the women writers in the last three decades can be classified into two groups:the early marginalized as passing travellers and the modern ones with self-reflective awareness. The early ones have neither ability nor desire to extricate themselves from the predicament of marginalization. What is more, they lack the ability to reflect on their circumstances which they can neither recognize nor represent. The modern ones, with sober recognition of their own plight, can profoundly reflect on their own status quo and its causes. There are numerous marginalized characters in the women writers’works—who even at the brink of the abyss, do not give up reflection, demonstrating complexity and rich dimensions of their thoughts. Insignificant as they are, they take upon themselves the heavy load of probing the theme of cultural conflict between the East and the West. The phenomenon indicates that multiplicity and mobility can bring people the perplexity of identity but also greater space for existence and imagination. The identification of the marginalized in the transcultural context is a painful process of questing in melancholy and perplexity, and a process of discovery as well.In their writings there is obviously a complex of memory which is used by the writers to combat loneliness in foreign land and question and resist the myth of globalization. Their focusing on memory can be regarded as an attempt to seek spiritual homeland. Since the Chinese women writers mix together personal and national memory in the process of identification, the transcultural writings by Chinese women writers in the last three decades are a mixture of both personal and national memory and there is a strong sense of the nation and of the state. Therefore, their writings are a combination of epic and lyric, which endows them with the aesthetic essences of the coexistence of misery and warmth, magnificence and delicacy. However, rather than giving them a sense of identity recognition, their memories betray the writers misgiving of history.Since the transcultural writings by Chinese women writers in the last three decades basically focus on women, the transcultural background offers women a broader platform to recognize themselves and search their subjectivity. The problem of women in transcultural context is discussed in ChapterⅣ. In the background of cultural communication between the East and West, the women writers keep pushing their boundary in exploring the identity and peculiarity of Chinese women, of which the re-recognition of the traditional spirit of Chinese women and the discovery of modern women’s rationalism, in particular, should be given attention. Although the traditional spirit is superficially in contradiction to modern rationality, they share some fundamental similarities—both are based on women’s independence and dignity and lay emphasis on women’s subjectivity. Combining the traditional virtue of firmness, generousness and mercy with modern women’s independence and rationality, the Chinese women writers’writings provide a possibility of constructing a new image of Chinese women:the women with traditional feminine tenderness, and independent thinking as well.As to the meaning of transcultural background for the writings of women writers, it broadens and deepens the writers’horizon and shows women’s ability of participating in the grand narrative and the ability of treating such major subjects as country, history, politics and transculture. Meanwhile, their writings display the specialties of grand narrative in the female perspective:issues relating to gender, race, state, and national experiences.Chapter V explores the language used in transcultural writings. As the relationship between language and nation, country, and identity is being given increasing attention, language has become a very important cultural icon in the age of globalization. Through textual analysis, this dissertation reaches a conclusion that the relationship between China and the West is isomorphic to the relationship between Chinese and English in the works of Zha Jianying, Yan Gelin and Chen Danyan, where the position of Chinese is connected with the plight of the marginalized, the cultural ruptures and the identity fission and the lack of identification. Although the writers interpret the position of Chinese in different respects, they share one characteristic:poor English and the use of Chinese indicating the character’s silence when confronting the West. The Chinese speakers’keeping silence is a strategy of dodging taken by the space-shifters of Chinese origin with no other choice, and it is also a metaphor of the marginal status of the subaltern in the Western context.In contrast with the silent status of Chinese in Western context, the women writers in the last three decades have a strong consciousness of writing in Chinese. Through an overall study and focused analysis of some parts, this dissertation finds that the writers’writings lay more emphasis on the inheritance of Chinese lingual tradition than on the experiment and breakthrough of the language. The Chinese feature in their writings manifests their identification with China on language, emotion and culture. Another feature in their writings is the use of vernacular, which, with the charm of consanguinity and reminiscence, continues the ancestors’speech and is filled with spiritual energy. The use of vernacular renders the personal national background specific and vivid.The transcultural writings of Chinese women writers in the last three decades are, in essence, a kind of writing through which the Chinese view China, West and the contact between them in the transcultural context. Represented at a transcultural angle, the images of China and the West take on extraordinary richness and complexity. The women writers’writings reveal the anti-essentialist "division" and "hybridity". Bent on the quest of meaning, their literary creation fully manifests their sense of crisis and sincerity.更多还原