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1、美国华裔文学,汤亭亭和谭恩美,新移民文学、华裔文学和华文文学,新移民文学：第一代移民在海外的写作，语言可能是移居国语言，也可能是汉语。华裔文学：严格意义上的华裔文学指在移居国出生、长大、国籍为移居国的作家，使用移居国语言进行写作。华文文学指在海外的华人使用汉语的写作，包括大陆的移民写作，也包括台湾等地的华人移民写作。,一般认为,汤亭亭1976年发表自传体小说女勇士标志着华裔作家创作进入美国文学主流的开始。,第二节 汤亭亭和女勇士,汤亭亭（axine Hong Kingston ,1940）,Biography and Writing,She was born on October 27, 19
2、40 in Stockton, California . She was the first of six American-born children; her parents, Tom and Ying Lan Hong, had had two children in China before they came to America.,Kingstons first language was Say Yup, a dialect of Cantonese(粤语). She grew up surrounded by other immigrants from her fathers v
3、illage, and the storytelling she heard as a child influenced her later writing. By the age of nine, her progress in English enabled her to write poems in her new language, and though she was a gifted storyteller like her mother, she preferred the solitary task of writing.,An extremely bright student
4、, she won eleven scholarships that allowed her to attend the University of California at Berkeley. Kingston began as an engineering major, but she soon switched to English literature.,She received her B.A. degree in 1962 and her teaching certificate in 1965. In 1962, she married Earll Kingston, an a
5、ctor, and they moved to Hawaii where they both taught for the next ten years.,The Woman Warrior: Memoirs of a Girlhood Among Ghosts,女勇士：一个生活在鬼中间的女孩的童年回忆,1976 Me and Mom genre. “You must not tell anyonewhat I am about to tell you”我要给你说的事情，对谁也不许讲,China Men,The second novel: China Men (中国佬,1980)The boo
6、k, steeped in historic detail and set in early California and Hawaii, details the male influences of her life and describes the lives of the men in her family who came to America-Gold Mountain. China Men includes a chronological list of discriminatory laws regarding Chinese immigrants and celebrates
7、 the strengths and achievements of the first Chinese men in America as well as the exploitation and prejudice they faced.,可以看作女勇士的续篇，女勇士聚焦于家族中的女性， 中国佬则记录了家族中几代男性漂洋过海来到美国的经历，他们为美国的开发出力流汗，汤亭亭认为他们才是这块土地的主人。,After the success of her first books, she was financially able to give up teaching as an occupat
8、ion and continued to write, but she continued to teach on and off as a visiting professor in Hawaii, Michigan, and California.,Tripmaster Monkey：His Fake Book,孙行者:他的伪书（1989）a picaresque （流浪汉）novel set in the San Francisco area during the 1960sThe protagonist of this novel, Wittman Ah Sing, is a fift
9、h-generation Chinese-American, and like many of Kingstons characters, he struggles to escape racism as he grows and questions the world around him.,第四部作品是尚未在中国问世的第五部和平之书 。“我为美国华裔而写作” 汤亭亭,Writing: the central in her life,My writing is an ongoing function, like breathing or eating,She admires the chan
10、ges a storyteller can implement（实施） when he or she tells the same tale many times, and in her work, she tries to retain this freedom to change a storys interpretation by guarding ambiguity in the static（静态的） writing. Doubt is a part of every story, not certainty, and that is part of what makes her w
11、riting unique.,二、女勇士,日裔美国诗人加勒特洪果的评价 ：70年代中期对于亚裔美国作家来说,最重要的事件也许是汤亭亭女勇士的出版和随后的畅销。该作品的文学成就和热销在简短而轰轰烈烈的亚裔美国文学史上是空前的。小说副标题“群鬼之中的一个少女的回忆”激起了大家对在美国的一个亚裔女子个人经历的关注,画出了神话意识,它似乎能给许多无名女子以力量,而且可能给我们的文化的任何消声了的“他者”以力量,不管其背景如何。,因为女勇士打破了关于女子属性和华裔美国女子属性的极度沉默,在就民间传说、家史和个人沉思所想像出来的历史和神话的“他者”之中重新排列了民族和性别的位置。,（一）内容1、“无名女子
12、” （No Name Woman)Maxine retells a story originally told to her by her mother. Her fathers sister had a baby by a man who was not her husband and was a disgrace to the family and the entire village. She committed suicide with her baby by drowning in the family well. As Maxine writes the real punishme
13、nt was not the raid swiftly inflicted（造成） by the villagers, but the familys deliberating forgetting her . always hungry, always needing, she would have to beg food from other ghosts, snatch(抓举) and steal it from those whose living descendants give them gifts.,The Chinese are always very frightened o
14、f the drowned ones, whose weeping ghost, wet hair hanging and skin bloated, waits silently by the water to pull down a substitute.,The Chinese are always very frightened of the drowned ones, whose weeping（哭泣的） ghost, wet hair hanging and skin bloated（膨胀）, waits silently by the water to pull down a s
15、ubstitute.,2、“白虎山学道”（White Tiger): Fa Mu Lan现代花木兰故事3、“乡村医生”（Shaman)：母亲勇兰4、“西宫门外”（At the Western Palace)：姨妈月兰5、“羌笛野曲”（A Song for a Barbarian Reed Pipe):蔡文姬,（二）、小说的主题,1女性主义思想对男权中心的解构 首先,“无名氏女人”与“女勇士”的对立。 Maxine recalls her Mother and herself singing a song about Mu Lan very frequently during her child
16、hood. She also dreams the tale of Mu Lan and puts herself in her place. In Chinese culture a girl is not as worthy as a boy so the legend of Mu Lan is extremely important and significant to girls. Feminists might retaliate（报复） that although Mu Lan had the skills of a warrior she had to disguise hers
17、elf as a man in order to fight.,汤亭亭笔下这个“变身”了的巾帼英雄形象折射出的是作者在美国现代社会求得性别、种族上的平等生存权力的欲望。是汤亭亭进行中西跨文化再创造的结果。 汤亭亭：“这不是中国的神话,而是改造过了的美国寓言”。,其次,“乡村医生母亲勇兰”与弃妇“小姨月兰”的对立。 最后,“我”与一个不敢说话的华裔女孩的对立 。,2.东西方文化的相遇和碰撞栩栩如生地向读者描绘了异质文化相遇、碰撞的画面,辨认了其中的精华与糟粕,对两种文化都提出了深刻的反思与批判。 中国鬼：男权、落后、愚昧、迷信。美国鬼：机器社会的压抑、种族歧视对少数民族的消声。“美国也到处是各种
18、各样的机器,各种各样的鬼的士鬼、公车鬼、警察鬼、开枪鬼曾几何时,世界上充满了鬼,我都透不过气来,我都无法迈步。”,3.文化身份的重构 书中的女儿对母亲说,“现在我们属于整个地球了,妈妈。如果我们和某一块土地切断了联系,我们就只属于整个地球。你明白我的意思吗?不管我们站在什么地方,这块地方也就属于我们,和属于其他任何人一样。” 在文化多元的美国社会中,华裔只有借助自己的传统文化资源才能建构有别于其他族裔的特性,形成与主流文化不同且平等的族裔文化,在西方社会的土地上拓展出一片属于自己的文化家园。但是这种族裔文化与中国的传统文化也很不相同，而是处在两种文化之间的、或融合了两种文化的、具有世界主义色彩
19、的族裔文化。,（三）想象的中国形象,“双重想象的故国” 1男尊女卑的社会 无名姑妈的故事、“西宫门外”中月兰的故事。书中大量地列举了歧视女孩的民谚,例如“女娃好比饭里蛆”、“宁养呆鹅不养女仔” 、“养女等于白填”、“女大必为别人妻”,导致月兰悲剧的一个重要原因便是勇兰的“一夫多妻制”思想。月兰是一个受儒家“三从四德”思想影响的中国传统女子,虽然丈夫去美国多年,她从来没提出要到美国,而是安于在香港的生活,“他给我寄了那么多钱,吃的,穿的,丫鬟,我应有尽有,他还供养了女儿,他送她上大学”(113),她对此非常满足。而当勇兰得知妹夫在美国另娶妻室时,不是通过更合法有效的途径,而是强迫妹妹到美国,去找
20、丈夫算账:“你是他的妻子,你应该和他在一起,你是大太太,她是奴婢”,“他有两个儿子,就等于你有两个儿子,你把他们从她身边夺过来,你来当他们的母亲。”(113)然而,美国化的妹夫却认为月兰根本驾驭不了美国的生活,在他眼里,月兰(中国及中国文化的象征)仿佛是“很久以前在书里读到的人物”(140)。,在中国,父母会把我和妹妹卖掉。父亲也会娶两个乃至三个老婆,她们会往我们脚上泼滚开的油,并谎称我们哭是因为淘气。他们把好吃的给自己的孩子,给我们石头。我不想到鬼都没有人形的地方。”,2令人恐惧的“饮食文化” 3“恐怖、饥荒”的红色“中国形象 这些描写一方面隐约浮现了中国某些历史阶段的社会运动，但另一方面也
21、可见出美国的白色政治对新中国“妖魔化”的宣传对华人心理造成的巨大影响 。,1989年,汤亭亭在某大学接受采访中提到“我担心到中国后会发现以前写的一些东西会与事实不符”。如此看来,汤亭亭给西方社会展示的中国是一个她想象中的中国。,汤亭亭的作品中的中国形象是对中国的一种“文化误读” 。赵建秀指控汤亭亭为“数典忘祖”的叛徒。:认为其作品中对于中国神话的移植和改写是对亚裔族性的背叛和对白人主流的迎合。,我们如何看待：汤亭亭与赵建秀之间分歧的根本原因在于，汤亭亭并非文化民族主义者,她作为弱势种族和边缘文化的一员发出了自己的声音,但其发声的目的并不是为了颠倒弱势和强势、边缘和中心的位置,她想要表达的是对于
22、多元文化融合共生的向往。,第三节 谭恩美和喜福会,谭恩美（Amy Tan, 1952-)。,Amy Tan was born in Oakland, California. Her family lived in several communities in Northern California before settling in Santa Clara（圣克拉拉）. Both of her parents were Chinese immigrants.,Her father, John Tan, was an electrical engineer and Baptist minist
23、er who came to America to escape the turmoil of the Chinese Civil War. The harrowing early life of her mother, Daisy, inspired Amy Tans novel The Kitchen Gods Wife. In China, Daisy had divorced an abusive husband but lost custody of her three daughters. She was forced to leave them behind when she e
24、scaped on the last boat to leave Shanghai before the Communist takeover in 1949. Her marriage to John Tan produced three children, Amy and her two brothers.,Tragedy struck the Tan family when Amys father and oldest brother both died of brain tumors within a year of each other. Mrs. Tan moved her sur
25、viving children to Switzerland, where Amy finished high school, but by this time mother and daughter were in constant conflict.,Mother and daughter did not speak for six months after Amy Tan left the Baptist college her mother had selected for her to follow her boyfriend to San Jose City College. Ta
26、n further defied her mother by abandoning the pre-med（预医） course her mother had urged to pursue the study of English and linguistics. She received her bachelors and masters degrees in these fields at San Jose State University. In 1974, she and her boyfriend, Louis DeMattei were married. They were la
27、ter to settle in San Francisco.,1987年谭恩美与丈夫、母亲一起回到了大陆。 “我感到在某种程度上，我是属于这儿的，感到发现了一个与自己有关的国土。”,Writings,四部长篇小说：喜福会（The Joy Luck Club,1988）、灶神之妻（The Kitchen Gods Wife,1991）、灵感女孩（The Hundred Secret Senses,1995）和接骨师之女(2001); 两部儿童文学作品：月亮娘娘（The Moon Lady,1992）和中国暹罗猫（The Chinese Siamese Cat,1994）;,短篇小说，如两种类型
28、（Two Kinds,1989）、花生的运气（Peanuts Fortune,1991）以及一些文章及随笔。,二、喜福会（ The Joy Luck Club）,喜福会（ （ The Joy Luck Club）喜福会的两个译本：吴汉平、贾遂山、郭泽明译的喜福会，安徽文艺出版社，1992年版；程乃珊、严映薇译喜福会，浙江文艺出版社，1999年版。,电影喜福会,(一）Plot Summary,四对母女：吴素云（Suyuan Woo) 吴精美(Jing-mei (June) Woo )；许安梅(An-mei Hsu, )许露丝(Rose Jordan )；龚琳达(Lindo Jong )薇弗莱龚(
29、Waverly )；映映圣莱克尔(Ying-ying St. Clair. )丽娜(Lena )；小说的第一、四部分为母亲们的故事 ，二、三部分为女儿们的故事。,（二）、小说的主题,1华裔母女两代人之间的冲突是作品的另一个主题。千里鹅毛 这位老太太至今记得，多年前，她在上海，曾傻乎乎地出了个大价钱，在菜市上买下一只“天鹅”。这只给小贩吹得天花乱坠的家禽，曾是像丑小鸭般拼命伸着脖子，企图能成为一只真正的天鹅。而后来，它果真变得那么优雅、动人，简直舍不得宰了吃。 后来，这个女人带着天鹅离乡背井，过江越海，直奔美国。在滔滔的海面上，她和它，都伸直着脖子往美国的所在观望着。“到了美国，我就要生个女儿，
30、她会很像我。但在美国，她却无须仰仗丈夫鼻息度日。在美国，不会有人歧视她，因为，我会让她讲上一口流利漂亮的美式英语。她将应有尽有，不会烦恼不会忧愁。她会领略我的一番苦心，我要她成为一只比期望中还要好上一百倍的漂亮的天鹅！”在驶往美国的旅途中，她轻声对那只天鹅隅隐私语着。,然而她的脚一踩上这块新的土地，移民局便强令她与天鹅分手了。她无奈地向着它挥扬着双臂，然而天鹅留给她的，只是一根羽毛。随后，她又对着必须填写的一大堆表格。她已经完全忘记了，为什么她要千里迢迢来到美国，还有，她在自己背后，舍弃的又是什么。 现在这个女人已垂垂老矣。她有了三个女儿。女儿已长大成人了，只会说英语，咽下的可口可乐要多于悲伤
31、。好久以来，这个老妇一直想把这根天鹅羽毛留给女儿，并跟她说：“这根羽毛似很普通，然而所谓千里鹅毛一片心呀！”如是冬去春来，年复一年，她一直期待著有一天，她能以流畅的美式英语，把这个故事告诉她的女儿。,a.喜福会中两代人之间冲突的产生跟东西方文化各自的传统有很大关系。June doesnt understand her mothers Chinese personality traits. She hates the way her mother brags(吹嘘) about her to Lindo Jong. She cannot understand why she has to be
32、obedient（听话） all the time. She does not want to bend to her mothers every whim（心血来潮）. But this is exactly what Suyuan expects from June, and she gets very angry when June doesnt listen to her.,No matter how much Waverly loves Rich, and how American she is, she needs him to understand her mothers Chi
33、nese attitude, even if she herself rejects it. Rich completely fails at this: he doesnt understand the complex way to compliment （恭维）someone, or how to eat at dinner, or how to be polite and yet friendly. And even though Waverly dislikes these Chinese customs, she desperately wants Rich to understan
34、d them the way she does. Whether they like it or not, their cultural backgrounds are in conflict.,b.另外,母女之间冲突的产生还跟双方对生存的不同观点有关。 母亲：逆境中求生存女儿：寻求法律保护,c.最后,华裔在美国社会的处境也是造成喜福会中母女两代人冲突的主要原因。,3华裔女性的身份建构是这部小说所关注的另一主题吴精美：“我该说什么呢?有关我的妈妈我又能说什么呢?我什么都不知道。她只是我的妈妈。” “我能感到我额头的皮肤刺痛,血液沿着新的血管直涌,骨头因为熟悉的旧伤而疼痛。我想,我妈妈是正确的。
35、我正在成为中国人。”,“我没找到母亲常有的那种表情，但她们对我，总有一种无法描绘的亲切和骨肉之情。我终于看到属于我的那一部分中国血液了。呵，这就是我的家，那融化在我血液中的基因，中国的基因，经过这么多年，终于开始沸腾。”“我们都很像妈妈：一样的眉目，一样的嘴唇，我们看见妈妈了，正惊喜地注视着她的梦幻成真”,这是一个象征性的情景，表明她与已经不在人世的母亲的和解以及女儿们对母亲所代表的东方文化的接受。在中国的文化和血液中，移民的女儿们找到了如家的感觉，分裂的自我得以整合。,如果母亲通过回忆与讲故事宣扬自我,重构主体,那么女儿最终在对中国文化的接纳中，在东方文化与西方文化的融合中找回了自己的文化身
36、份即将东西方文化融合为一的混杂性文化身份。,（三）、艺术特征1、结构的精致严谨。 喜福会这部小说采用章回体形式,用16个章节(全书共分四个部分,每个部分有四个故事,分别由四位母亲或女儿叙述)将四位中国母亲和她们的美国女儿的故事串联起来。 麻将式缀段结构：作者把全书形象地构筑在一张麻将桌上。,故事由坐在麻将桌东方的吴精妹美开始。谭恩美在小说中煞费苦心地将故事的开始置于很突出的位置东方寓意是十分深刻的。因为“东方是一切的开端,东方是太阳升起的地方,也是风吹来的方向。” 这里的东方有着深刻的象征意义。它不仅指地理位置上的东方,而且也可能暗指中国以及悠久的中国文化传统。故事结尾时，故事结尾也是以吴精美
37、回中国寻亲结束，使作品在结构上相当严谨有序 。,2.采用了大量的象征、寓言手法。 喜福会 ：寄寓着小说人物的希望与梦想。正如小说中所言,这样可以“丢开坏念头”,又可以希望“交好运”,这就是她们的“喜”,她们的“福”,一种逆境求生的心理慰藉。 就是这样，我父母得以认识许家、龚家及圣克莱尔家。我母亲能感觉到这些女人们也各自有她们的隐痛，她们遗失在中国的梦幻和希望。然而她们蹩脚的英语，很难使她们将此一吐为快。或者说，至少，我母亲，已从她们的漠然惆怅的脸上，读出了什么。因此，当她向她们建议，发起喜福会时，她们立即就赞同了。,麻将：联系两代人的一个极富文化含义的象征物。 在四组故事之前，都有一个寓言故事
38、作为开头，分别为“千里鹅毛”、“二十六扇凶门”、“美国的注释”、“西天王母娘娘”，这几个寓言都象征性地表达了华裔在异国环境中的生存困境、文化的冲突导致的母女两代之间的隔阂、母女之间的血脉相连。 食品也起着重要的象征作用 。作者巧妙地用它来联系着过去、现在，联系着移民家庭，表达着一种社区文化的存在，利用食品进行文化对话。,3第一人称回顾性叙述视角 在第一人称回顾性叙述中，通常有两种眼光在交替作用，一为叙述 者“我”追忆往事的眼光，另一为被追忆的 “我”正在经历事件时的眼光。这两种眼光可 体现出“我”在不同时期对事件不同的看法或 对事件的不同认识程度，它们之间的对比常常 是成熟与幼稚、了解事情的真相与被蒙在鼓里 之间的对比。,
