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研究生:羅佳倩
研究生(外文):Karen Lo
論文名稱:重繪趙健秀《唐老亞》中之身分政治、歷史、家園之疆界
論文名稱(外文):Re-spatializing Identity, History, and Home in Frank Chin's Donald Duk
指導教授:林茂竹林茂竹引用關係
指導教授(外文):Mao-chu Lin
學位類別:碩士
校院名稱:國立彰化師範大學
系所名稱:英語學系
學門:人文學門
學類:外國語文學類
論文種類:學術論文
論文出版年:2002
畢業學年度:90
語文別:英文
論文頁數:120
中文關鍵詞:身分政治歷史家園趙健秀的小說《唐老亞》空間的概念趙健秀的小說《唐老亞》多重的身分混雜的文化多音性的開放空間解構二元對立
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倘若我們仔細地檢視華裔美國文學,我們就不難發現身分政治、歷史、及家園事實上是互相糾葛交纏、息息相關的範疇。在後現代的時空中,人們常會因地域的遷移而面臨文化、歷史的錯置而有失根或離散飄泊的感嘆。因此,在他鄉重新尋求自我及民族的新定位及新意便成為當今文學最重要的一個課題了。由於華裔美國人在白人的種族主義下被建構成為弱勢族群,因此,他們極力地想擠身美國文化主流尋求一個發聲的機會,目的無非是想重塑華裔美國人的形象、並將華裔美人的歷史挖掘出土、重新肯定被白人所扭曲的中國文化價值、進而能在美國土地上落地生根。本論文旨在運用空間的概念來重新閱讀趙健秀的小說《唐老亞》,企圖將潛藏在這些範疇背後的權力關係與互相角力的真正面相再現,進而解構二元對立間既定的疆界空間,終極目標不僅是要破除白人民族優越及均質文化的迷思,更要建構一個混雜的文化、多重的身分及多音性的開放空間。
本論文共分四章。首章先簡單論述空間的理論架構及其在演繹作品時的操作手法,同時並說明身分政治、歷史、及家園是互為指涉的議題。第二章在討論書寫為對抗霸權論述的文化空間及解構的機制。趙健秀挪用了白人的語言文字,但同時卻也加入了屬於華裔美國人特有的文字之獨特性及文化的感性。雖然也沿用了成長小說的形式,但在故事最後卻也來個形式的逆轉,轉而質疑白人虛構的歷史並批判他們的霸權論述。第三章則經由故事主人翁唐老亞的夢境,除再現華裔美國人建造鐵路的英勇事蹟外,也得以重新界定華裔美國人的身分及歷史。除此,也藉由唐老亞在夢境與現實間的來回擺盪來揭露空間的本質,並進而顯示唐老亞跨越了現實/夢境、現在/過去、意識/非意識、白晝/黑夜、存在/虛無、公共空間/私人空間、和中心/邊陲等疆界。本章也藉由關公的英雄形象和烹飪間的對話交涉來破除父權體制下對女性工作的鄙視及顛覆空間的性別化。最後一章則以政治協商來做總結,說明家園事實上是與白人進行一種涉及文化、經濟與歷史的政治協商結果。除此,本章也論述家園應該建構在多重文化的根基上,而其形式也應該有多樣性地解讀。

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.

Abstract (Chinese) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .i
Abstract (English) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii
Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vi
Chapter One
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Chapter Two
Literature as a Space to Empower Chinese Americans . . . . . . . . . . . . . . . . . . . . .28
Chapter Three
Remapping the Boundaries of Gender and Race Identities and History . . . . . . .56
Chapter Four
Conclusion: Seeking for a Location to Feel at Home. . . . . . . . . . . . . . . . . . . . . . . 90
Works Cited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

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