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重绘赵健秀《唐老亚》中之身分政治、历史、家园之疆界
我爱英语网 http://www.52en.com
论文名称: 重绘赵健秀《唐老亚》中之身分政治、历史、家园之疆界
论文名称: Re-spatializing Identity, History, and Home in Frank Chin's Donald Duk
关键词:
身分政治、历史、家园
赵健秀的小说《唐老亚》
空间的概念
赵健秀的小说《唐老亚》
多重的身分
混杂的文化
多音性的开放空间
解构二元对立
[摘要]
倘若我们仔细地检视华裔美国文学,我们就不难发现身分政治、历史、及家园事实上是互相
纠葛交缠、息息相关的范畴。在后现代的时空中,人们常会因地域的迁移而面临文化、历史
的错置而有失根或离散飘泊的感叹。因此,在他乡重新寻求自我及民族的新定位及新意便成
为当今文学最重要的一个课题了。由于华裔美国人在白人的种族主义下被建构成为弱势族
群,因此,他们极力地想挤身美国文化主流寻求一个发声的机会,目的无非是想重塑华裔美国
人的形象、并将华裔美人的历史挖掘出土、重新肯定被白人所扭曲的中国文化价值、进而
能在美国土地上落地生根。本论文旨在运用空间的概念来重新阅读赵健秀的小说《唐老亚
》,企图将潜藏在这些范畴背后的权力关系与互相角力的真正面相再现,进而解构二元对立
间既定的疆界空间,终极目标不仅是要破除白人民族优越及均质文化的迷思,更要建构一个
混杂的文化、多重的身分及多音性的开放空间。
本论文共分四章。首章先简单论述空间的理论架构及其在演绎作品时的操作手法,同时
并说明身分政治、历史、及家园是互为指涉的议题。第二章在讨论书写为对抗霸权论述的
文化空间及解构的机制。赵健秀挪用了白人的语言文字,但同时却也加入了属于华裔美国人
特有的文字之独特性及文化的感性。虽然也沿用了成长小说的形式,但在故事最后却也来个
形式的逆转,转而质疑白人虚构的历史并批判他们的霸权论述。第三章则经由故事主人翁唐
老亚的梦境,除再现华裔美国人建造铁路的英勇事迹外,也得以重新界定华裔美国人的身分
及历史。除此,也藉由唐老亚在梦境与现实间的来回摆荡来揭露空间的本质,并进而显示唐
老亚跨越了现实/梦境、现在/过去、意识/非意识、白昼/黑夜、存在/虚无、公共空间/私
人空间、和中心/边陲等疆界。本章也藉由关公的英雄形象和烹饪间的对话交涉来破除父权
体制下对女性工作的鄙视及颠覆空间的性别化。最后一章则以政治协商来做总结,说明家园
事实上是与白人进行一种涉及文化、经济与历史的政治协商结果。除此,本章也论述家园应
该建构在多重文化的根基上,而其形式也应该有多样性地解读。
[摘要]
Examining Chinese American literature closely, we will find that identity,
history, and home are intertwined. In the postmodernist time-space, people
are often displaced and dislocated, and they will inevitably confront the
displacement or deterritorialization of identity, history, and home. As such,
the urgent task for the displaced people is to reterritorialize their
identity, history, and culture in the new landscape in order to seek a
location to feel at home. Chinese Americans, in the dislocated context, are
conditioned by the White racists to be the racial, historical, economical,
cultural, and political margins. Therefore, Chinese American writers make
much effort to reconstruct their effeminized subjectivity and unearth their
erased history, the purpose of which is to rearticulate Chinese Americans
within the mainstream America and further to claim America as home. The
categories of identity, history, and home all carry with themselves the notion
of demarcation, which suggests not only the spatial concept but also the
ideological stances from which identity, history, and home are constructed and
made different. Therefore, this thesis attempts to deploy a spatial
imagination where space, ideology, and representations are joined together to
reconsider the complex and sometimes contradictory meanings of identity,
history, and home in Frank Chin's Donald Duk. Such a spatial practice is used
to re-examine what is hidden in the social categories of identity, history,
and home and therefore these categories can be discussed dialectically and
analytically in order to subvert the hegemonic discourse. In this sense, such
a spatial reading offers us multiple facets of the contemporary world, which
gives rise to a new meaning and a new open space.
This thesis is composed of four chapters. There is a brief account of
space as a critical practice in the introductory chapter. Chapter Two
discusses Donald Duk as a resistant cultural space and a cultural apparatus to
struggle against the dominant discourses and at the same time to empower
Chinese Americans. Here, writing is acknowledged as a way of remembering the
heroic past and as a medium through which the ethnic consciousness or
sensibility can emerge in order to write Chinese Americans within the
mainstream culture. Chapter Three deals with the psychological, geographical,
gendered/private, and racialized spaces. It is through Donald Duk's dream
world that the erased history can be uncovered and therefore the official
dominant version of history can be deconstructed. It is also in Donald Duk's
dreams that Chinese American identity can be re-situated because Chinese
railroad workers are associated with the wild and dangerous frontiers of
America. However, the vacillation between the reality and the dream world can
be interpreted as a crossing between reality/dream, consciousness/
unconsciousness, presence/absence, present/past, and center/margin. Besides,
by masculinizing the private and racialized spaces with the heroic image of
Kwan Kung and the legendary heroes of The Water Margin, the gendered and
racialized spaces can be re-examined and the conventional meanings can be
redefined. Last but not least, the domestic space is rewritten as a site
where an individual self and the collective self can be made anew. The
concluding chapter explores the politics of home. In the shifting world, the
permanent linking of a culture, a history, and a people to a certain place
should be put into question. That is, to enforce a homogeneous culture and
identity becomes increasingly problematic. Therefore, we should interpret
home in an alternative way.
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