英语本科毕业论文-浅析美籍华裔作家作品中的文化融合.doc

作者声明本毕业论文（设计）是在导师的指导下由本人独立撰写完成的，没有剽窃、抄袭、造假等违反道德、学术规范和其他侵权行为。对本论文（设计）的研究做出重要贡献的个人和集体，均已在文中以明确方式标明。因本毕业论文（设计）引起的法律结果完全由本人承担。毕业论文（设计）成果归所有。特此声明作者专业：作者学号：作者签名：年 月 日浅析美籍华裔作家作品中的文化融合On Cultural Integration in the Works of Chinese-American Writers年 月日AbstractThe earliest Chinese writers of English writing appeared in the late 19th century, the rise of Chinese literature attracted the attention of the mainstream literary critics in recent years in the United States. It is said that thousands of Chinese-American writers is in the United States, there are at least hundreds of people writing in English. In 1981, Jiang Xiaoming first recommended Maxine Hong Kingston and her works The Woman Warrior and China Men to the Chinese readers, he thought Maxine Hong Kingston “is a serious and thoughtful writer, she is not only writing a book, but also exploring the problem and looking for answers. At the same time, her literary accomplishment and artistic attainments are high. These make such a family history relish, not boring. The following year, Zheng Guoqiang commented the artistic features of the China Men, praised the new and unique artistic structure of it, pointed out that it had a distinctive national style and strong local color, fully affirmed the author in the spirit of exploration of the literary form.After entering the 1990s, researchers turned to Amy Tan and other writers. Guo Zemin wrote an Introduction of The Joy Luck Club in Foreign Literature Review. This is the first introduction to The Joy Luck Club. In 1991, The Times reported The rise of the Chinese American Writers Group on June 3, 1991, which said, a noticeable phenomenon appears in American literature today, which is the rapid rise of a group of Chinese-American writer, Many people are of extraordinary skill when they first time appear, their talent has been admitted by the American society, I believe that these writers will have achievements in the future.” Afterwards, Zhang Ziqing, Yidai Feng, Tengshou Yao, Daxin Ni, etc. strongly recommend Chinese writers. Chinese-American writer, whose cultural roots in China, lives in the United States. While they are in the collision of integration full of contradictions of mainstream American society, they are inspired by the impact of American culture. This article analyzes the process from the culture succumb to cultural integration by describing typical Chinese-American writers works of age demonstrated with the times and policy changes. Key words: Chinese-American writers; culture succumb; cultural integration摘 要最早用英语写作的华裔作家出现在19世纪末，最近几年在美国，华裔文学的崛起引起了主流文学批评界的注意。据说美国的华裔作家数以千计，用英语写作的至少有上百人。上世纪80年代国内介绍华裔美国文学的文章还不多见。1981年江晓明第一个将汤亭亭和她的作品女勇士和金山勇士推荐给中国读者，他认为汤亭亭“是位严肃的有思想的作家，她不仅是在写书，而且是在探索问题，寻求答案。同时，她的文学修养和艺术造诣也颇高。这才使这样一部家史读起来津津有味，毫不枯燥”。（外国文学1981年第1期）次年，郑国强在四川学报上撰文评论金山勇士的艺术特色，称赞作者“新颖独特的艺术结构”，指出“大量运用中国神话、传说、故事”，“使作品产生极大的艺术感染力”，具有“鲜明的民族风格和浓郁的地方色彩”，充分肯定作者在文学形式上的“探索精神”。进入90年代后，研究者开始转向谭恩美及其他作家。外国文学评论1990年第1期有郭泽民的喜乐侥幸俱乐部简介，这是国内最早介绍喜福会的文章。1991年世界文学第5期转载了美国时代周刊1991年6月3日的报道，原题目为华裔美国作家群崛起，称：“当今美国文坛上出现了一个引人注意的现象，这就是一批华裔美国作家的迅速崛起。”说他们“许多人一亮相便身手不凡，他们的才华已经受到了美国社会的承认，相信这批作家在今后会有很大作为”。之后，张子清、冯亦代、滕守尧、倪大昕等相继撰文力荐华裔作家。美国华裔作家文化根源在中国，但生活在美国，在与美国主流社会充满矛盾的融合中碰撞，又深受美国文化的影响。本文通过描述时代典型美国华裔作家作品，分析随着时代和政策的变化，美国华裔作家作品中表现出的从文化屈从到文化融合的过程。 关键词：美国华裔作家；文化屈从；文化融合 - 0 -ContentsAbstracti摘要iiIntroduction11. The Background and Development of the Chinese-American Writers21.1 The Background of Chinese-American Writers21.2 The Development of Chinese-American Writers32. The Process of Culture Intergration42.1 Father and Glorious Descendant42.2 The Woman Warrior52.3 Snow Flower and the Secret Fan73. Americanized Chinese-American Writers. 8Conclusion9Bibliography10IntroductionChinese-American writer, whose cultural roots in China, lives in the United States. While they are in the collision of integration full of contradictions of mainstream American society, they are inspired by the impact of American culture. Multiculturalism enhanced by American Rights Movement not only wakes up the ethnic consciousness of the African-American, Mexican and other ethnic minorities, but also gives birth to Chinese ethnic consciousness of Chinese American, and indirectly leads to the Chinese American Literature of which central demands are ethnic identity and cultural writing. Beginning in the 1970s after the American Rights Movement, Chinese American writers, mainly Maxine Hong Kingston, Frank Chin, Shawn Wong, Amy Tan, Gish Jen etc. issued their own unique sound in the writing of ethnic identity and cultural identity of Chinese Americans, promote the sustained development of Chinese American literature.This article analyzes the process from the culture silence to cultural integration by describing typical Chinese-American writers works of age demonstrated with the times and policy changes. This article describes the three typical: Father and Glorious Descendant of Pardee Lowe, The Woman Warrior of Maxine Hong Kingston and Snow Flower and the Secret Fan of Lisa See. These articles represent that Chinese-American writers are willing to write about Chinese stories, but their attitude towards the figure of Chinese in their works change according to the relation between China and American, and the international status of China. This article also introduce two views of critics: one is that, the process of culture integration puts emphasis on both the Chinese culture and American culture; another view is that these writers actually write stories of American on the form of Chinese stories.1. The Background and Development of the Chinese-American Writers1.1 The Background of Chinese-American WritersThe mid-19th century, batches of Chinese went into the United States because of the discovery of gold in California, later they became the main force of building railways across the continental United States. From setting foot on the land of United States to the end of the twentieth century, these Chinese had experienced the process from being abused and suffered from dirty looks to being accepted and integrating the white mainstream society. After the enactment of the 1882 Chinese Exclusion Act, America legalized the racial discrimination and prejudice to Chinese, the Chinese people lived a lonely and miserable life isolated from mainstream society with discrimination and stigma. Owing to the performance of bravery and loyalty of Chinese in 1943 World War II, the United States announced that the Chinese Exclusion Act is invalid, and allowed the Chinese to become legal citizens of the United States with an annual immigrant quota of 105 Chinese. However, with the outbreak of the Korean War in 1950, the Chinese once again became the enemy of the mainstream American society.1.2 The Development of Chinese-American WritersUntil the 19th century did the Chinese have their mouthpiece. At this time, Edith Eaton (1865 - 1914), whose mother is a Chinese and father a British, started writing about the Chinese in the late 19th century and early 20th century. She published a collection of short stories entitled Mrs. Spring Fragrance (1912).In the 1940s and 1950s, Father and Glorious Descendant by Pardee Lowe (1936- )was published, which is the first literary works written in English by a Chinese, and Fifth Chinese Daughter by Jade Snow Wong (1922- ), known for the best-selling book written by a Chinese.In these two biographical works, the two authors try to describe the real character of the Chinese people, to avoid the past ugly, thugs, and ignorant image of Chinese by American writers such as Brett Hart, Mark Twain, Frank Norris and Jack London. Louis Zhu, Eat a Bowl of Tea (1961) was published in the 1960s. In this novel the author tells the story took place in New Yorks Chinatown. The hero is one of the first generation of single immigrants is suffered by the immigration laws.In the late 1960s and early 1970s, Chinese literature began to prosperity. The above-mentioned works had been reprinted after revise. The writers had been noticed suddenly. Why was this prosperity? On the one hand, there is an unprecedented improvement in Sino-US relations with the Nixon visit to China in 1974;on the other hand, the U.S. company was launched in the global multicultural context competitions, but courses in U.S. universities is still a single culture. To bridge this ravine, many companies began to finance larger minority issues. They began to ask students with multicultural and multilingual quality. Just at this point, the second or third generation of Chinese-American writers such as Maxine Hong Kingston (1940- ), Amy Tan (1952- ) and David Henry Hwang etc. were active in the American literature. As a result, some people at the same time adhered to the common features, also admitted that these common features did not exclude certain groups or minorities with unique ideas and attitudes. For them, all Americans share common myth, a common history, common political and economic systems, as well as ethical.2. The Process of Culture Intergration Looking at the works of the Chinese writer, we can easily find an obvious feature: to continue to seek their own cultural identity. But in the process of seeking, they experienced a process from culture silence to culture succumb to the culture integration. For convenience, we might as well put these works into two categories: work 60 years ago and 60 years later works. Works 60 years ago can be represented by Father and Glorious Descendant (1943) by Pardee Lowe; works 60 years later can be represented by The Woman Warrior (1976) by Maxine Hong Kingston.2.1 Father and Glorious DescendantMost of the works before the 1960s showed the strong attemption of being recognized by the mainstream American society. These writers have a strong awareness to join American society and become a U.S. citizen. Father and Glorious Descendant is the most typical work. The characters in the novel try so hard to curry favor with the American society to squeeze into this society. In fact, this work can be said to portray the history of two generations of Chinese squeeze into the American society successfully. In order to achieve this goal, to make “equal engagement” between their families and the Americans, the children were named after famous American statesman; in addition, their behavior was to emulate the Americans. In their view, the American value system and values are nobler than the Chinese, entering the society means that they have prestige. Therefore, when the father earned the appreciation of Chinatowns elders and brothers by his “ideological and economic minds of American citizens”, he felt smug, dreaming of becoming a U.S. citizen. In the generation of his son, the attempt to squeeze into the mainstream of American society was even more vividly. His son realized that his father was not a real American. Thus, in order to realize this dream, he not only attending American university, learning the language and culture of the United States, he even hated any things about China, including the language and cultural practices. Because he believed that China was a symbol of backwardness. It symbolized the casinos, opium dens, brothels and gang dispute. He called things from China as “foreign” and “strange”, customs of China as “old junk”, Chinese people as “cold-blooded animals”. All of United States had a strong attraction on him because the United States meaned schools, libraries, bathing hall, toilets, trains, etc. This was “Gods own country”. He was always proud of his English and his American ways of dealing with the problems. Sketched out by Pardee Lowe, American culture is superior while Chinese culture is inferior. According to this standard of value judgment, if a person wants to prove that their own social and cultural values, he should be like the Americans, otherwise, he is worthless. As Elaine Kim said, his books and the Fifth Chinese Daughter are “devoted to proving the minorities in the United States is how through adaptation, hard work and perseverance to succeed; these two books are more or less to blame Chinese Americans - their families, their communities and their nation due to difficulties or failure they are suffering. We should admit that, the image of Chinese people has been changed at a large degree in these works, because whether the Chinese image in the works written by Chinese or the works written by Americans are of stereotyped mode at an early stage. Chinese people characterized by this model are insidious, vicious, ignorant, dirty, and backward. They are not only inferior in physical, but also low in intellectual. For example, in Frank Norriss McTeague, China or Chinese people are greatly devalued. McTeague depicts that a Chinese cook serves 40 miners, “Chinese market gardeners teetering past under their heavy baskets”, “Chinese junkmen” walked on the garbage on the edge of the city. All in all, the image of character of the Chinese people reveals authors contempt. Chinese is not much better in the eyes of Jack London. He took the Chinese as the “yellow flood”. He was to express the threat from the Chinese people. The implied meaning is: If China is industrialized, it is unrivaled. It implies the untold fear unknown but industrious Chinese people untold fear, hope that American citizens are wary of the Chinese people. Thus, the image of Chinese people in the works at the turn of the century is the main stereotypes. Pearl S. Bucks work during this time, only the Chinese people have a relatively fair and objective description and performance.2.2 The Woman WarriorChinese writers after the 1960s, especially those who lived through the civil rights movement of the 1960s is very concerned about writers of the Chinese immigrant community, trying to find their own voice and identity. Among these writers, Maxine Hong Kingston is particularly significant. In her The Woman Warrior, her merge biography and mythology, Chinese culture and American culture with history of herself and her mother, so that American readers can understand the mental activity of the Chinese immigrants who have become a permanent part of the United States. Therefore, the Chinese-American fiction in the 1970s has a huge stride on reshaping the Chinese image. Maxine Hong Kingston was born in 1940 in California. At Childhood, she had to stray in the laundry room to help her parents. During the day, she went to English school; at night, she studied in a Chinese school. She experienced the student movement when shes in University of California at Berkeley. More importantly, in 1962, she received a bachelors degree in English Literature, in 1965 she had got rather special Teacher Certification. Because, at that time, women continued to be engaged in teaching profession this is right and proper for them. She had taught in secondary schools and business schools in California and Hawaii.It is The Woman Warrior that makes Kingston distinguished as the author of “the most widely taught book by a living writer in US colleges and universities”. She has blended Chinese myths, legends, drama stories and experience to achieve the American dream together artfully, caused a sensation in the United States and Europe. The book contains five chapters with each consisting of a story about a woman. The first story, titled as No Name Woman, deals with the narrators paternal aunts story which her mother used as a lesson to instruct her. The second story White Tigers is about an imaginary woman warrior derived from the Fa Mulan Ballad which her mother chanted to her in her childhood. This woman is the imaginary “I”. The third story illustrates the struggle and hard work of the narrators mother both in China and in America. In both countries, her mother has to fight against “ghost” to live as a human being. The fourth story is entitled At the Western Palace which, in Chinese mythology, means a place full of immorality. Here it refers to the United States in the eyes of the mother Brave Orchid, and the maternal aunt Moon Orchid. It is a sad story of abandonment. The last story is A Song for a Barbarian Reed Pipe, into which the narrator stuffs all her confusion, anger and frustration of her growth as a Chinese American girl. It describes the Chinese girls silence at home, in the school and in the society at large, and her struggle against this silence. This chapter ends with a story of Tsai Yen and her Eighteen Stazas for a Barbarian Reed Pipe.From the brief description above, we found that The Woman Warrior follows the Chinese materials, for example, Mulan took her fathers place in the army, Yue Fei was Tattooed with “精忠报国”(to serve ones fatherland with unreserved loyalty) on his back by his mother, Tsai Yen and her Eighteen Stazas for a Barbarian Reed Pipe. It praises instead of belittling the Chinese social and historical customs. Obviously, Maxine Hong Kingston tries to find and shape a new identity the identity of the dual world. The information expressed in the novel is “They are Americans not white”.Maxine Hong Kingstons success was mainly due to her more truly reflects the ideology of the contemporary Chinese-American, she created an image of the Chinese Who face themselves bravely and strive to go beyond self in confusing environment. However, Maxine Hong Kingston and other Chinese writers were so bold to perform the theme banned in the past, mainly because the writing environment was very different from the past. After Immigration Law and Natural Law had been revised, the writers have been given more rights and have more self-confidence. Social integration and new national consciousness stimulate the writing of the Asian, writers today are more confident, t