90年代后美国华裔女性小说研究
摘要
20世纪的世界文坛,常常在许多批评家眼中被视为“一场奇幻的文学盛宴”。从90年代初至21世纪前10年,美国华裔作家、作品也迅速增长,从此美国华裔文学进入了一个更加繁荣的阶段。汤亭亭(《第五和平之书》)、谭恩美(《拯救落水鱼》)的新作,带领新一代美国华裔女性作家开启更多元化的创作尝试。
90年代后登上文坛的美国华裔文学新人大多出生在20世纪60年代前后,发表作品时年龄在三十岁上下,且多为女作家。新涌现的作家,如任璧莲等有意模糊作品主人公的华裔身份,“目标是要创作出‘一批文学作品——不是作为华裔美国人的作品,而是作为作家的作品’”。
其他新一代华裔女性作家写作的个性化也趋于鲜明,其主体自我意识更强。不论小说内容是关于中国的故事还是关于美国的华裔故事,关注的不是宏大叙事,而是注重个人的生活经历和感受,根本性的主题是精神家园。换而言之,不论是哪一种叙事策略,都昭示了华裔女性群体对自我存在进行的深刻反思,她们也由此走出了族群的身份限定,超越了二元对立的政治思维模式。因此本文拟以邝丽莎、张岚,以及大胆突破伦理底线的第三代美国华裔作家黄锦莲和伍美琴为研究对象,从探寻华裔作品的文学性和美学价值出发,挖掘90年代后,新一代美国华裔女性小说中的普遍性和特殊性。
In late 20th century, under the wave of "Rebuilding American Literature" movement of American academic mainstream, the American Asian or American Chinese literature has obtained concerns from several books of New American Literary History. However, the value of Chinese American literature, not only the ethnic diversity of American cultures it constructs with Mexican-American literature, African American literature and other minority races. More important is that this kind of works can show the spirit of American aspiration, especially in the global prevalence in the 21st century. In their works it can be clearly seen the American ideological effects on the idea of immigrants and their descendants, family life and the development of other aspects.
In the development process of American Autobiography, it changes from the straightforward narrative biography to the fuzzy narrative autobiographical novel. This kind of change shows the effort and improvement of Chinese American literature both in the literary and artistic aspect. Because the transformation and diversification of the trends in Chinese American Literature, it also brings problem of its scope rebuilding on standard definition. If this problem can not be discussed and reconstructed clearly, it will lead a direct result of confusion between Chinese American literature and American new immigrant literature. Therefore, the focus on Chinese American literature and women writers’consciousness which exist after 90s is an important way to describe the concept of American Chinese literature in the new century.
Which tradition did the post 90s Chinese American women writers follow? And what kind of individual creation did they do? Whether they have experienced the same stages, like "Women Writing, Writing Culture, the American Writing and Artistic Writing”as Maxine Hong Kingston did? Whether the literary universality and particularity of these works has been covered by the ethnicity? In order to explore these issues, this thesis views Chinese American literary works as aesthetic objects firstly. Then in a perspective cultural poetics, the thesis explores the literary general and special aspects in the works of post 90s Chinese American Women writers by analyzing the literary and artistic quality.
The prevous study and criticism of Chinese American literature were dominated by the cultural nationalism and ethnic political aspects, but paid little attention to aesthetics or literary elements itself. Therefore, beginning with exploring the literary and aesthetic values in Chinese American works to find the general and special qualities of these works is significant in studying the Chinese American literature.
This thesis will be finished in following parts.
The first chapter of this thesis is introduction. In addition to the basic concepts, it mainly introduces the representatives of post-90s Chinese American women writers and the categories of the novels which were written by these women writers.
From chapter two to chapter four, selecting four representative writers to introduce, that is Lisa See, Zhang Lan, Huang Jinlian, and Mei Ng and it deeply interprets six novels, "Snow Flower and the Secret Fan, ""Shanghai girls " "Hunger, ""Heritage, ""Naked eating Chinese food, " and "Snack". It also analyzes and interprets the narrative style, narrative technique, symbolism and the unique nature of rhetoric. The fifth chapter is a general introduction and refines the characteristics of the post-1990s Chinese American Women writers. It also compare their characteristics combining with appropriate discussion and comments.
This thesis analyzes the form of theme and artistic innovation of post-1990s Chinese American women writers’novels. This thesis uses the“women’s issues”which is the most popular issue in the academic field as the corn perspective to discuss the new era of female consciousness, sex appealing of the new content (including sexual desire, maintaining family, social evaluation and self-reflection of the value) as well as ethnic women’s new identity. This thesis does not completely abandon the generalization of“cultural studies”, but focusing on the changes of the post-90s works, it bases on its original theory to adjust the application of this theory. What’s more, it tries to broaden the analysis’vision, so that the way of interpretation becomes more diversified. The novels are available in the perspective of cultural studies. So in addition to the cultural identity of the hero, the cultural conflict of external and internal environment within the family, this perspective can be also used to analyzes the images of Chinese and American culture, deconstruction, and the new meaning given to the traditional culture Images.
The topic of this thesis contains the word "female", so its focus will naturally be not separated from the main body of women writers’consciousness. Therefore, among the subversive fictions, this paper attempts to explore how the reconstruction of the Chinese American women’s value and ethics system they have made. For the Chinese American women writers, the emotional and aesthetic expression of writing is one of the best ways to reflect their awareness of changes and trends. Therefore, this paper focuses the subtle emotional writing style to discuss the writer's love of American culture, philosophy and aesthetics of the absorption and integration; and through the new writer's narrative technique used in writing the chores of daily life, this thesis interprets the female writers’description of "erotic" plot and analyzes the breakthrough of writing beyond the ethical in autobiographical novels.
The fifth chapter is a general introduction and refines the characteristics of the post-1990s Chinese American Women writers. It also compares their characteristics combining with appropriate discussion and comments. In the compare, it also analyzes the influences of the culture spirit on the new generation women writers’writing concept. And it interprets the tragedy and other means of artistic expression in the wake of the soul and salvation in the post-90s Chinese American novels. This chapter also inducts the new generation’s differences from the previous generation of American writers on the perspective of "Silence" Narration and the new meaning of the image of "food". Through comparison and analysis, the conclusion of this paper is consistent with the initial expected. These several Chinese-American women writers are different from the origin of the second-generation. They are in shaping the new image of women to express their further distillation of consciousness. The post-1190s Chinese American women writers’novels awake up the sleeping consciousness of modern women in mind to get the artistic and aesthetic pleasure.
In addition, through the interpretation of the works, we can see that the Sino-US conflict and fusion of two cultures is no longer the problems faced by the post-1990s Chinese American women writers. They are no longer entangled, no longer divided. Instead, they put some kind of Chinese and American cultures into personal preferences. Moreover, no matter the mix of culture or the mix of descent, the complexity of the new generation writers indicates a new phase of the novel, the epoch of“double hybrid”.
90年代后登上文坛的美国华裔文学新人大多出生在20世纪60年代前后,发表作品时年龄在三十岁上下,且多为女作家。新涌现的作家,如任璧莲等有意模糊作品主人公的华裔身份,“目标是要创作出‘一批文学作品——不是作为华裔美国人的作品,而是作为作家的作品’”。
其他新一代华裔女性作家写作的个性化也趋于鲜明,其主体自我意识更强。不论小说内容是关于中国的故事还是关于美国的华裔故事,关注的不是宏大叙事,而是注重个人的生活经历和感受,根本性的主题是精神家园。换而言之,不论是哪一种叙事策略,都昭示了华裔女性群体对自我存在进行的深刻反思,她们也由此走出了族群的身份限定,超越了二元对立的政治思维模式。因此本文拟以邝丽莎、张岚,以及大胆突破伦理底线的第三代美国华裔作家黄锦莲和伍美琴为研究对象,从探寻华裔作品的文学性和美学价值出发,挖掘90年代后,新一代美国华裔女性小说中的普遍性和特殊性。
In late 20th century, under the wave of "Rebuilding American Literature" movement of American academic mainstream, the American Asian or American Chinese literature has obtained concerns from several books of New American Literary History. However, the value of Chinese American literature, not only the ethnic diversity of American cultures it constructs with Mexican-American literature, African American literature and other minority races. More important is that this kind of works can show the spirit of American aspiration, especially in the global prevalence in the 21st century. In their works it can be clearly seen the American ideological effects on the idea of immigrants and their descendants, family life and the development of other aspects.
In the development process of American Autobiography, it changes from the straightforward narrative biography to the fuzzy narrative autobiographical novel. This kind of change shows the effort and improvement of Chinese American literature both in the literary and artistic aspect. Because the transformation and diversification of the trends in Chinese American Literature, it also brings problem of its scope rebuilding on standard definition. If this problem can not be discussed and reconstructed clearly, it will lead a direct result of confusion between Chinese American literature and American new immigrant literature. Therefore, the focus on Chinese American literature and women writers’consciousness which exist after 90s is an important way to describe the concept of American Chinese literature in the new century.
Which tradition did the post 90s Chinese American women writers follow? And what kind of individual creation did they do? Whether they have experienced the same stages, like "Women Writing, Writing Culture, the American Writing and Artistic Writing”as Maxine Hong Kingston did? Whether the literary universality and particularity of these works has been covered by the ethnicity? In order to explore these issues, this thesis views Chinese American literary works as aesthetic objects firstly. Then in a perspective cultural poetics, the thesis explores the literary general and special aspects in the works of post 90s Chinese American Women writers by analyzing the literary and artistic quality.
The prevous study and criticism of Chinese American literature were dominated by the cultural nationalism and ethnic political aspects, but paid little attention to aesthetics or literary elements itself. Therefore, beginning with exploring the literary and aesthetic values in Chinese American works to find the general and special qualities of these works is significant in studying the Chinese American literature.
This thesis will be finished in following parts.
The first chapter of this thesis is introduction. In addition to the basic concepts, it mainly introduces the representatives of post-90s Chinese American women writers and the categories of the novels which were written by these women writers.
From chapter two to chapter four, selecting four representative writers to introduce, that is Lisa See, Zhang Lan, Huang Jinlian, and Mei Ng and it deeply interprets six novels, "Snow Flower and the Secret Fan, ""Shanghai girls " "Hunger, ""Heritage, ""Naked eating Chinese food, " and "Snack". It also analyzes and interprets the narrative style, narrative technique, symbolism and the unique nature of rhetoric. The fifth chapter is a general introduction and refines the characteristics of the post-1990s Chinese American Women writers. It also compare their characteristics combining with appropriate discussion and comments.
This thesis analyzes the form of theme and artistic innovation of post-1990s Chinese American women writers’novels. This thesis uses the“women’s issues”which is the most popular issue in the academic field as the corn perspective to discuss the new era of female consciousness, sex appealing of the new content (including sexual desire, maintaining family, social evaluation and self-reflection of the value) as well as ethnic women’s new identity. This thesis does not completely abandon the generalization of“cultural studies”, but focusing on the changes of the post-90s works, it bases on its original theory to adjust the application of this theory. What’s more, it tries to broaden the analysis’vision, so that the way of interpretation becomes more diversified. The novels are available in the perspective of cultural studies. So in addition to the cultural identity of the hero, the cultural conflict of external and internal environment within the family, this perspective can be also used to analyzes the images of Chinese and American culture, deconstruction, and the new meaning given to the traditional culture Images.
The topic of this thesis contains the word "female", so its focus will naturally be not separated from the main body of women writers’consciousness. Therefore, among the subversive fictions, this paper attempts to explore how the reconstruction of the Chinese American women’s value and ethics system they have made. For the Chinese American women writers, the emotional and aesthetic expression of writing is one of the best ways to reflect their awareness of changes and trends. Therefore, this paper focuses the subtle emotional writing style to discuss the writer's love of American culture, philosophy and aesthetics of the absorption and integration; and through the new writer's narrative technique used in writing the chores of daily life, this thesis interprets the female writers’description of "erotic" plot and analyzes the breakthrough of writing beyond the ethical in autobiographical novels.
The fifth chapter is a general introduction and refines the characteristics of the post-1990s Chinese American Women writers. It also compares their characteristics combining with appropriate discussion and comments. In the compare, it also analyzes the influences of the culture spirit on the new generation women writers’writing concept. And it interprets the tragedy and other means of artistic expression in the wake of the soul and salvation in the post-90s Chinese American novels. This chapter also inducts the new generation’s differences from the previous generation of American writers on the perspective of "Silence" Narration and the new meaning of the image of "food". Through comparison and analysis, the conclusion of this paper is consistent with the initial expected. These several Chinese-American women writers are different from the origin of the second-generation. They are in shaping the new image of women to express their further distillation of consciousness. The post-1190s Chinese American women writers’novels awake up the sleeping consciousness of modern women in mind to get the artistic and aesthetic pleasure.
In addition, through the interpretation of the works, we can see that the Sino-US conflict and fusion of two cultures is no longer the problems faced by the post-1990s Chinese American women writers. They are no longer entangled, no longer divided. Instead, they put some kind of Chinese and American cultures into personal preferences. Moreover, no matter the mix of culture or the mix of descent, the complexity of the new generation writers indicates a new phase of the novel, the epoch of“double hybrid”.
引文
①“UCLA Professor Yuji Ichioka: The Creato of Asian America,”http://yellowworld.org/activism/164.html参见吴冰:“导论”,《华裔美国作家研究》[M],吴冰、王立礼主编。天津:南开大学出版社,2009,第1页。
②Sau-ling Cynthia Wong.“Chinese American Literature”. An Interethnic Companion to Asian American Literature, New York: Cambridge University Press, 1997: 39.
①张福贵:《活着的鲁迅:鲁迅思想价值的当代意义》[M]。中国社会科学文献出版社,2010年,第1页。
②Yen Le Espiritu, Asian American Panethnicity: Bridging Institutions and Identities [M]. Philadelphia: Temple University Press, 1992:33.
③Paul Wong, Chienping Faith Lai, Richard Nagasawa and Tieming Lin“Asian Americans as a Model Minority: Self-Perceptions and Perceptions by Other Racial Groups”[A] Sociological Perspectives Published : University of California PressPage 96 of 95-118. [2009-1-3]: http://www.jstor.org/stable/1389355
④Wong, Paul.“The Emergence of the Asian American Movement”[J]. Bridge2. 1972:32-39. Kim, Elaine H. Asian American Literature: An Introduction to the Writings and Their Social Context. Philadelphia: Temple UP, 1982.
①Kim, Elaine H. Asian American Literature: An Introduction to the Writings and Their Social Context [M]. Beijing: Foreign Language Teaching and Research P(外研社版), 2006: p174-175.
②Kai-yu Hsu(许芥昱), Helen Palubinskas,eds., Asian-American authors:Multi-ethnic literature Midnight Novel of Suspense [M]. Boston: Houghton Mifflin Company, 1976.
③Frank Chin et al. eds., Aiiieeeee!: An Anthology of Asian American Writers. Washington. D.C.: Howard University Press, 1974.
④Jeffery Paul Chan et al. eds., The Big Aiiieeee: An Anthology of Chinese American and Japanese American Literature. New York: Meridan, 1991.
⑤蒲若茜:《族裔经验与文化想象:华裔美国小说典型母题研究》[M]。北京:中国社会科学出版社出版,2006,第13页-第15页。
⑥“See Frank Chin”[J]. Bridge 2,(Dec)1972:30.
⑦Frank Chin er al. eds. Aiiieeeee!: An Anthology of Asian American Writers [M]. New York : Mentor, 1991: xiii-xvi.
⑧Helen Zia.“Frank Chin (1940- )”, Notable Asian Americans. Gale Research [EB/OL], 1995:50-51.[2009-10-5] http://bookdragonreviews.files.wordpress.com/2009/10/chin-frank.pdf
①“第一阶段,民族意识阶段,移民在许多细节和观念方面,充分认识到自己与其他人的不同;第二阶段,试图与美国白人认同,迫切希望后代被美国社会接受;第三阶段,移民的后代开始了政治觉悟;第四阶段,移民开始对自己的根产生兴趣,想了解更多祖辈的故国;第五阶段,有可能完全适应美国社会并融合,但这个过程极长,移民及其后代或许会中途放弃,新移民也可能因为基础较好,不必为要求与白人认同而困扰”。参见吴冰:《哎——咿!听听我们的声音!—美国亚裔文学初探》[J]。《国外文学》,1995年,第2期,第37页。
②王烺烺:《亚裔美国文学的定义和嬗变》[J]。《西北师大学报(社会科学报)》,2003年,第4期。
③Elaine H. Kim,“Preface”[A]. In Jessica Tarahata Hagedorn, ed., Charlie Chan is dead: an anthology of contemporary Asian American fiction[C]. Penguin Books, 1993: viii.
④张子清:《与亚裔美国文学共生共荣的华裔美国文学》,《华女阿五》,黄玉雪(Jade Snow Wong)著,张龙海译。南京市:译林出版社,2004,(总序)第4页-第5页。
⑤奥尔·E.罗尔瓦格的观点是:“用挪威语言所作的族裔文学,并非移民文学,而是用挪威文创作的美国文学”。参见尹晓煌著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006。
①Cheung, King-Kok (张敬珏), and Stan Yogi . Asian American Literature: An Annotated Bibliography. New York: The MLA of America, 1988.
②黄秀玲(Sau-ling Cynthia Wong)著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》(Reading Asian American Literature: From Necessity to Extravagance)。北京:中国社会科学出版社,2007,第14页。
③参见[英]安德鲁,尼古拉著,汪正龙、李永新译。《关键词:文学、批评与理论导论》(An Introduction to Literature Criticism and Theory)[M]。广西师范大学出版社,2007,第14页。
①尹晓煌著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006,第55页。
②吴冰:“导论”,《华裔美国作家研究》,吴冰、王立礼主编。天津:南开大学出版社,2009,第4页。
③受篇幅所限,此文不再赘述每种译法的具体代表性文献。郭英剑对以往译法的总结为前四种,参见郭英剑:当代美国华裔文学方兴未艾[N]。《社会科学报》,2009年8月27日。
④第四种参见卫景宜:美国华裔英语文学研究[N]。《文汇报》,2001年3月13日,第2版。
⑤第五种参见吴冰:关于华裔美国文学研究的思考[J]。《外国文学评论》,2008年,第2期,第15页。
⑥第六种译法是张子清为避免“华人”与“华裔”的混淆,且被美国人统称为Chinese American writers,所以提出此建议。参见张子清:华美文学的界定与现状[N]。《文学报》,2002年5月9日,第2版。
①王理行、郭英剑:论Chinese American Literature的中文译名及其界定[J]。《外国文学》,2001年第2期,第89页。
①依照1980年颁布的《中国国籍法》:“华侨,是尚未加入外籍的移民,包括已取得居住国永久居民身份者,仍保留本国公民身份;华人,是已加入外国国籍的移民,法律身份已是外国人;华裔,是华人或者华侨的后代”
②吴前进:《美国华侨华人文化变迁论》[M]。上海社会科学院出版社,1998年,第154页。
③这里的“移民精英”基本同尹晓煌专著《美国华裔文学史》中提到的“‘开化’的华人”是相同含义,就是那些受满清政府资助、派遣,赴美留学的留学生或朝廷高官。参见[美]尹晓煌著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006,第50-51页。
①王理行、郭英剑:论Chinese American Literature的中文译名及其界定[J].《外国文学》,2001年第2期,第90页。
①“The Fourteenth Amendment (Amendment XIV)”http://www.archives.gov/exhibits/charters/constitution_amendments_11-27.html#14“14th Amendment Summary”http://www.14thamendmentsummary.com/14th-amendment-text/
②即父母为他国公民(外交官员或政府职务人员除外),并在美国有永久住所且在美居住,在美从事商贸活动。换而言之,如果某位华裔作家是在美国出生的,并从出生就获得美国国籍,而他(她)的父母尚未正式获得美国国籍(即旅美华侨),那么父母必须在美国有自己的房产,且都是在美国工作。而对于“美国父母在他国所生子女”,美国国籍法另有特别规定:1986年11月14日及之后出生的孩子(非婚生子另有规定),父母要有合法婚姻关系,保证一方在孩子出生时已经成为美国公民,且这一方(从14岁以后到自己的孩子出生前)已在美国生活至少5年,并且拥有房产资料来源:Acquisition of U.S. Citizenship by a Child Born Abroad : http://travel.state.gov/law/citizenship/citizenship_5199.html Citizenship and Nationality: http://travel.state.gov/law/citizenship/citizenship_782.html Birth of U.S. Citizens Abroad: http://travel.state.gov/law/family_issues/birth/birth_593.html
③徐颖果(编著):“导言”。《美国华裔文学选读》(英文原作节选+中文介绍、注释) (第二版)。天津:南开大学出版社,2008,第10页。
①诗歌大约135首,20世纪七十年代才得以被发现。多表达华人移民对过分畸形的美国移民政策的愤恨和斥责。参见Him Mark Lai, Genny Lim, and Judy Yung. Island : Poetry and History of Chinese Immigrants on Angel Island,1910-1940. Reprint. Seattle: University of Washington Press, 1989.另有中文版:麦礼谦,林小琴,杨月芳:《天使岛诗歌与华人移民,1910-1940》,华盛顿大学出版社,1991。
②何华,唐茂枝:华人移民致加州州长彼格勒阁下之公开信,《阿尔塔日报》,1852年4月30日,第2页。转引自:尹晓煌著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006,第10页,第39页。
③李楚:《一个华人的故事》,见哈密尔顿·霍尔特:《无名百姓真是故事自述》,纽约:波特斯书局,1906。转引自:尹晓煌著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006,第20页,第43页。
④李恩富:《我在中国的童年》(When I Was a Boy in China,1887);转引自:尹晓煌[美]著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006,第51页-60页。
⑤容闳:《我在中国和美国的生活》(又译《西学东渐记》)(My Life in China and America,1909)。转引自:尹晓煌[美]著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006。
⑥Deborah L. Madsen.“History of Chinese American Literature”from Chinese American Writers (Gale study guides to great literature第9卷) Detroit: Thomson Gale, 2002.[2009-2-3] http://home.adm.unige.ch/~madsen/Chinese%20American%20Literature.htm
①尹晓煌[美]著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006,第70-73页。
②《秧歌》(The Rice-Sprout Song)1956,《北地胭脂》(翻译为中文出版时名为《怨女》,由《金锁记》改编)1967。
③林语堂这位创做了大量英文著作(作品有小说、散文、杂文、人物传记等)的早期华侨作家在美国受欢迎的程度,与将他奉为偶像的晚辈——张爱玲却形成鲜明的反差。而张爱玲除了前面提到的两部小说,只发表了短篇小说《五四遗事》和散文《重访边城》,另外两篇在美国写的小说《雷峰塔》和《易经》都被退稿。
①席扬、翁强:文学思维活动的修辞化探寻——“文学命名”初探[J]。《山西大学师范学院学报》,2002年第1期,第18页。
①Chan, Sucheng (陈素贞). Chinese American Transnationalism: The Flow of People, Resources, and Ideas between China and America during the Exclusion Era. Philadelphia: Temple UP, 2006.
②程爱民:论美国华裔文学的发展阶段和主题内容[J]。《外国语》,2003年,第六期,第47页。
③单德兴:从文学评论到文化研究/批判:美国华裔文化研究刍议,《“开疆”与“辟土”——美国华裔文学与文化》[M]。天津:南开大学出版社,2006,第187页。
④1965年,美国移民法改革,政策的松动直接影响了美国亚裔群体内部的人口构成。见Herbert R. Barringer, Robert W. Gardner, Michael J. Levin. Asians and Pacific Islanders in the United States [M]. Russell Sage Foundation, 1993, p40.
⑤泛亚美运动:用“亚裔美国人”成为亚裔社团的自我称谓,并努力将广泛的亚洲地区的东方人团结起来。见黄秀玲(Sau-ling Cynthia Wong)著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》(Reading Asian American Literature: From Necessity to Extravagance)。北京:中国社会科学出版社,2007,第11页。
①周铭:汤亭亭:以笔为剑的女勇士,《20世纪美国女性小说研究》[M],金莉等著。北京大学出版社,2010年6月,第256-266页。
②范守义:(序)华裔美国人英语文学概观[A]。任璧莲:《典型的美国人》。太原:山西教育出版社,2002年。
③金莉:《伊迪丝·伊顿——种族歧视污泥中的水仙花》[A],《20世纪美国女性小说研究》[M],金莉等著。北京大学出版社,2010年6月,第21页。
①Amy Ling,Between Worlds: Women Writers of Chinese Ancestry [M]. New York: Pergamon.1990:39.
②尹晓煌著,徐颖果主译。《美国华裔文学史》(Chinese American Literature since the 1850s)(中译本)[M]。天津:南开大学出版社,2006年,第95页。
③Vanessa Holford Diana,Biracial/Bicultural Identify in the Writings of Sui Sin Far [J]. MELUS. 2001,26(2):161.
④Sui Sin Far, Mrs. Spring Fragrance and Other Writings (1912) . (ed.). Amy Ling and Annette White-Parks. U. of Illinois P, 1995.
⑤单德兴:《不是华人异乡客:黄玉雪访谈录》,《“开疆”与“辟土”——美国华裔文学与文化》,天津:南开大学出版社,2006,第219页。
⑥单德兴:《不是华人异乡客:黄玉雪访谈录》,《“开疆”与“辟土”——美国华裔文学与文化》,天津:南开大学出版社,2006,第216页。
①徐颖果(编著):Diana Chan(张粲芳)。《美国华裔文学选读》(英文原作节选+中文介绍、注释) (第二版)。天津:南开大学出版社,2008,第82-83页。
②Roh-Spaulding, Carol. "Diana Chang (1934- )". IN: Nelson, Emmanuel S. (ed. and preface); Asian American Novelists: A Bio-Bibliographical Critical Sourcebook. Westport, CT: Greenwood; 2000: 38-43.
③悉尼·史密斯:《女性自传的诗意:边缘化与自我表述小说》,印第安纳大学出版社,1987,第159页。
①徐颖果(编著):Maxine Hong Kingstong(汤亭亭)。《美国华裔文学选读》(英文原作节选+中文介绍、注释) (第二版)。天津:南开大学出版社,2008,第134-135页。
②单德兴:文字女勇士:汤亭亭访谈录,《“开疆”与“辟土”——美国华裔文学与文化》,天津:南开大学出版社,2006,第222-231页。
①威廉斯著,吴松江、张文定译,《文化与社会》,北京:北京大学出版社,1991年。
②单德兴:竹脊上的文字钓客:林永得访谈录,《“开疆”与“辟土”——美国华裔文学与文化》(作家访谈录与研究论文集)[M]。天津:南开大学出版社,2006,第252页。
①魏全凤:论美国华裔女作家何舜莲小说《玛德琳在沉睡》[J]。《当代外国文学》,2009年第2期,第134页。
①黄锦莲近期的新作:Buddha Baby,2005 I Want Candy,2008
②Ng , Mei Eating Chinese Food Naked. New York: Scribner, 1998.
③赵文书:跨世纪华裔美国国文学鸟瞰[A] ,吴冰、王立礼主编《华裔美国作家研究》[C].天津:南开大学出版社,2009年,第551页。
④金莉:“绪论”,《20世纪美国女性小说研究》[M].金莉等著。北京大学出版社,2010:年,第7页。
⑤单德兴:《“开疆”与“辟土”——美国华裔文学与文化》(作家访谈录与研究论文集)[M].天津:南开大学出版社,2006年,第249页。
①阎景娟:《文学经典论争在美国》[M]。社会科学文献出版社,2010年3月,第20页。
②以北京外国语大学美国华裔文学研究中心主页2009年7-10月发布的“Bibliography of Chinese American Literature(美国华裔文学原著书目)”、“华裔美国文学中、英文参考书目”、“华裔美国文学国内外博士学位论文目录”等文献目录为参照,通过中国知网、国家图书馆(馆藏目录),以及UMI、JSTOR、Wikipedia、Google-Scholar、gigapedia等电子资源,对与“美国华裔文学”或“华裔美国文学”相关文献进行检索。
①劳特(Paul Lauter)的著作有《重建美国文学:课程·进度·议题》(Reconstructing American Literature:Courses , Syllabi, Issues, 1983 )和《希斯美国文学选集》( The Heath Anthology of American Literature,1990)。与劳特同为重建美国文学史而努力的学者及著作还有,埃默里·埃利奥特主编《哥伦比亚美国文学史》(Emory Elliott, Columbia Literary Histrory of the United States,1988),柏柯维奇主编的新《剑桥美国文学史》(Sacvan Bercovich,The Cambridge History of American Literature,多卷本)。见单德兴:《反动与重演:美国文学史与文化批评》[M]。台北:书林出版有限公司,2001,第109—110页。
②单德兴:《“开疆”与“辟土”:美国华裔文学与文化》[M]。天津:南开大学出版社,2006,第187页。
③Stephen Hong Sohn , "'Valuing 'Transnational Queerness Politicized Bodies and Commodified Desires in Asian American Literature". in Lim, Shirley Geok-lin, John Blair Gamber, Stephen Hong Sohn and Gina Balentino, eds. Transnational Asian American Literature: Sites and Transits. Philadelphia: Temple UP, 2006
④Kim, Elaine H. Asian American Literature: An Introduction to the Writings and Their Social Context [M]. Beijing: Foreign Language Teaching and Research P(外研社版), 2006.
⑤王岳川:“序言”,《当代西方最新文论教程》[M]。上海:复旦大学出版社,2008年12月。
⑥埃默里·埃利奥特,克莱格·萨旺金:美国文学研究新方向:1980-2002[J]。《外国文学》,2007年,第四期,第137页。
①陆薇:《渗透中的解构与重构:后殖民理论视野中的华裔美国文学》[D]。北京语言大学,2005年,第37页。
②赵健秀等人编辑的《唉咦!亚裔美国作家文集》(Aiiieeeee!: An Anthology of Asian American Writers,1974)金惠经的《亚裔美国文学:作品及社会背景介绍》(Asian American Literature:An Introduction Their Social Context,1982)。张敬珏等编写的《亚裔美国文学书目提要》(Asian American Literature: An Annotated Bibliography,1988)林英敏的《世界之间:华裔美国女作家》(Between Worlds: Women Writers of Chinese Ancestry,1990)林玉玲和林英敏的《亚裔美国文学解读》(Reading the literatures of Asian American,1992 )黄秀玲的《解读美国亚裔文学:从必需到奢侈》(Reading American Literature: From Necessity to Extravagance,1993)
③丽莎·刘的《移民场景:亚裔美国文化政治》(Immigrant Acts: On Asian American Cultural Politics,1996)。凌津奇的《叙述民族主义:亚裔美国文学中的意识形态与形式》(Narrating Nationalisms: Ideology and Form in Asian American Literature.,1998)。李磊伟的《想象国家:亚裔美国文学与文化认同》(Imagining the Nation: Asian American Literature and Cultural Consent.,1998)。马圣美的《亚裔美国及亚裔离散文学中的移民主体》(Immigrant Subjectivities in Asian American and Asian Diaspora Literatures,1998)。
④尹晓煌著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006。
⑤周郁蓓:亚裔美国文学批评中的美国民族主义思想[J]。《文史哲》,2006年第3期,第104页。
⑥Blinde, Patricia Lin. "The Icicle in the Desert: Perspective and Form in the Works of Two Chinese-American Women Writers." MELUS : The Journal of the Society for the Study of the Multi-Ethnic Literature of the United States.1979,6-3:51-71.来源:JSTOR:http://www.jstor.org/stable/466953
⑦例如Cheng Lok Chua.“Goklen Mountain: Chinese Versions of the American Dream in Lin Yutang Louis Chu, and Maxine Hong Kingsto.”Ethnic Groups 1982-4:33-59.
①Bow, Leslie. Betrayal and Other Acts of Subversion: Feminism, Sexual Politics, Asian American Women’s Literature. Princeton, New Jersey: Princeton UP, 2001.
②比如在《尽在不言中:山本久支、汤亭亭、小川乐》(Articulate Silences: Hisaye Yamamoto, Maxine Hong Kingston, Joy Kogawa.,1993)将沉默的问题置于女性主义和族裔研究的维度。
③吴冰:《哎—咿!听听我们的声音!—美国亚裔文学初探》[J]。《国外文学》,1995年,第2期,37-45页
④吴冰:“导论”,《华裔美国作家研究》[C]吴冰、王立礼主编。天津:南开大学出版社,2009,第33页。
②见石平萍:Mother-Daughter Relationship and the Politics of Race and Gender in Chinese American Women's Writings: A Study of The Woman Warrior, The Joy Luck Club, and Bone[D]. (美国华裔妇女文学中的母女关系及种族和性别的政治:对《女勇士》、《喜福会》和《骨》的研究)。北京外国语大学,2002。最新发表,见蔡霞,石平萍:“疾风无形”:生态女性主义批评视角下的《喜福会》[C],郭继德主编。《美国文学研究》,2010年,第5辑,第401-410页。
③黄秀玲(Sau-ling Cynthia Wong)曾在其专著《从必需到奢侈》中,提出了“文本同盟”的概念,用以解释美国华裔学者的解读目的和作者创作的动机。她指出,亚裔美国文学的研究者和作者正在共同建立一个“亚裔美国文学的文本同盟”,这个同盟就像是亚裔美国族裔集体作为一个政治同盟而存在一样。见黄秀玲著,詹乔、蒲若茜、李亚萍译:《从必需到奢侈——解读亚裔美国文学》(Reading Asian American Literature: From Necessity to Extravagance)[M]。北京:中国社会科学出版社,2007年,第14页。
④张琼:《从族裔声音到经典文学——美国华裔文学的文学性研究及主体反思》[M]。上海:复旦大学出版社,2009,第281页。
①尹晓煌著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006
②单德兴:《“开疆”与“辟土”——美国华裔文学与文化》[M](作家访谈录与研究论文集)。天津:南开大学出版社,2006。
③张琼:《从族裔声音到经典文学——美国华裔文学的文学性研究及主体反思》,上海:复旦大学出版社,2009,第281页。
①冯品佳的“魅影中国:谭恩美的《百种神秘感觉》、《接骨师的女儿》、与《防鱼溺水》中的跨国诡魅叙事”[J]。《英美文学评论》,2007年,第11期,第113-142页。
②张龙海的“戏仿、语言游戏、神秘叙事者、拼贴——论汤亭亭《引路人孙行者》中的后现代派艺术技巧[J]。《外国文学》,2005年,第3期,第100-105页。
③魏全凤:《论美国华裔女作家何舜廉小说<玛德琳在沉睡>》[J]。《当代外国文学》,2009年,第2期,
①张琼:《‘沉默’的时代与文化疆界——论美国华裔作家张岚的<遗产>》[J]。《复旦外国语言文学论丛》,2008年,第2期。
②秋叶:《亚裔美国文学研究的新起点》[N]。《中华读书报》,2009年7月,第17版。
③项丽丽,刘增美:《美国华裔文学批评的透视与思考》[J]。《东岳论丛》,2009年11月。
①傅景川,柴湛涵:美国当代多元化文学中的一支奇葩——奇卡诺文学及其文化取向[J]。《吉林大学社会科学学报》,2007年9月,第5期。
②吕娜:当代奇卡纳代表作家研究[D].长春:吉林大学文学院,2009。
①Garrett Hongo,”Asian American Literature: Questions of Identity”[J] Amerasia Journal 20.31994:4-5.引自Rocío G. Davis and Sue-IM Lee, ed. Literary Gestures The Aesthetic in Asian American Writing[C]. Temple University Press, 2006:8.
②勒内·韦勒克,奥斯汀·沃伦著;刘象愚、邢培明等译:《文学理论》[M]。南京:江苏教育出版社,2005年,第247页。
③蒲若茜:华裔美国文学研究的中国视野[J]。《江汉论坛》,2006年,第3期。
①周启超:多方位地吸纳有深度地开采——写在《当代国外文论教材精品系列》出版之际。《文学作品的多重解读》[M].迈克尔·莱恩编著,赵炎秋/译,北京大学出版社,2006,总序第4-6页。
②赵莉华:华裔文学创作与研究的误区[J]。《华文文学》,2006年2月,第84页。
①张琼:《从族裔声音到经典文学——美国华裔文学的文学性研究及主体反思》,上海:复旦大学出版社,2009。
①国内学者周铭将汤亭亭的四部主要作品视为反映其创作主体意识的四个不同阶段。周铭另举出另一学者张伟华的相似论断,即女权主义(《女勇士》)、种族平等(《中国佬》)、构建族裔文化属性(《孙行者》)、世界和平主义(《第五和平之书》)。见周铭:汤亭亭:一笔为剑的女勇士[A],《20世纪美国女性小说研究》[M],金莉等著。北京大学出版社,2010年6月,第257页。
②何成洲:性别研究的未来——与托莉·莫伊的访谈[J]。《当代外国文学》,2009年,第2期,第156页。
③迈克尔·莱恩编著:“序言”。《文学作品的多重解读》[M],赵炎秋/译。北京大学出版社,2006年,第1页。
①迈克尔·莱恩编著,赵炎秋/译,“序言”,《文学作品的多重解读》[M].北京大学出版社,2006,第2页。
②孙胜忠:20世纪西方文论演变的循环态和文学批评多元互补论[J]。《外国语》,2004年,第3期,第62页。
③[美]萨克文·伯科维奇/主编杨仁敬等/主译:《剑桥美国文学史》(第八卷,诗歌和文学批评1940-1995)[M]。北京:中央编译出版社,2007,第419页。
①“文学场”即“文学生产场”(the Fiield of literary production),是人类学、社会学家布迪厄(Pierre Bourdieu,1932-2002)将结构和历史视野辩证统一起来的一种文学观。
②张意:文学场。《西方文论关键词》,主编赵一凡等。外语教学与研究出版社,2006年第1版,第579页。
③勒内·韦勒克,奥斯汀·沃伦著;刘象愚、邢培明等译:《文学理论》[M]。南京:江苏教育出版社,2005年,第250页。
④勒内·韦勒克,奥斯汀·沃伦著;刘象愚、邢培明等译:《文学理论》[M]。南京:江苏教育出版社,2005年,第247页。
①“编者的话”,《外国文学动态》[J]。译林出版社。2010年第2期。
②《希思美国文学选集》(1990)收入了汤亭亭的《女勇士》中“白虎山学道”一章,《哥伦比亚美国文学史》(1988)有单独一章论述亚裔美国文学。见吴冰:《20世纪兴起的亚裔美国文学》, [J]《英美文学研究论丛》(第二辑),上海外语教育出版社,2001,第192页。
③吴冰:“导论”,《华裔美国作家研究》,吴冰、王立礼主编。天津:南开大学出版社,2009,第25页。
①张琼:《从族裔声音到经典文学——美国华裔文学的文学性研究及主体反思》[M].上海:复旦大学出版社,2009。
①Xian Liu, "Lisa Lenine See." in Asian American Novelists: A Bio-Bibliographical Critical Sourcebook. Ed. Emmanuel S. Nelson. Westport, CT: Greenwood Publishing Group, Inc. 2000:323.
②Lisa See. On Gold Mountain: The One-Hundred-Year Odyssey of My Chinese American Family. New York:St. Martins, 1995:xx.
③Lisa See. On Gold Mountain: The One-Hundred-Year Odyssey of My Chinese American Family. New York:St. Martins, 1995.
④“红色王子”和“红色公主”(Red Princes and Princesses)都是由于他们对毛主席的特殊奉献或极为忠诚而得名。见Lisa See, The Interior. New York: HarperCollins, 1999:112
⑤Lisa See. Flower Net. HarperCollins, 1997.
①Pam Spencer.“Flower Net”. School Library Journal (04/1998)。小说中女主人公也在介绍中国的办案方式时,对“花网”(flower net)的概念加以解释。见Lisa See. Flower Net, New York: HarperCollins, 1997: 152.
②Lisa See. Flower Net, New York: HarperCollins, 1997: 232-233.
③Lisa See. The Interior. New York: HarperCollins, 1999: 146-147.
④Lisa See, Dragon Bones. Random House, Inc., 2003.
⑤Lisa See, "Three Gorges Dam is potential new symbol in China, possibly surpassing even the Great Wall", NPR, 08/12/03
⑥Raphael, Lev. "Dragon Bones." Fort Worth Star-Telegram, 23 July 2003.
⑦Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005.
⑧Lisa See. Peony in Love. Random House, Inc., 2007
⑨邝丽莎(Lisa See)著,忻元洁译,《雪花和秘密的扇子》[M]。北京:人民文学出版社, 2006。
①康慨:邝丽莎新作灵感来自《牡丹亭》[N]。《中华读书报》,2007年6月27日http://www.gmw.cn/01ds/2007-06/27/content_630248.htm
②继1993谭恩美的畅销小说《喜福会》(The Joy Luck Club)之后,又一部即将以电影形式展现的华裔女性小说。该片由传媒大亨默多克之妻邓文迪与米高梅主席之妻弗劳伦斯·斯洛恩联手监制、著名华裔导演王颖执导。预计于2011年6月上映。
③Lisa See. Shanghai Girls. Random House, Inc., 2009.
④Lisa See. Dreams of Joy: A Novel. Random House, Inc., 2011.参见Amy S. Rosenberg, "Novels Focused on Her Family Lineage", 05/26/2009.
⑤Xian Liu, p. 323.另,1989年谭恩美的《喜福会》的成绩是9个月销售27.5万余册精装本。
⑥Dreaming: Hard Luck and Good Times in America, Los Angeles: University of California Press, 1996
⑦“Meet the Writer :Biography”, Barnes and Noble: http://search.barnesandnoble.com/Dragon-Bones/Lisa-See/e/9780345440310
①Lisa See. On Gold Mountain: The One-Hundred-Year Odyssey of My Chinese American Family. New York: St. Martins, 1995:24-25.
②赵丽明:作者的真诚(代序),《雪花和秘密的扇子》[M],邝丽莎(Lisa See)著,忻元洁译,北京:人民文学出版社, 2006,第4页。
③赵丽明:女书字数统计与异体字处理[J]。《内江师范学院学报》,2007年,第3期,第22页。
④“Conversations: Lisa See: Author of Snow Flower and the Secret Fan”[EB/OL]. Waterbridge Review, (2005-9) [2009-6-10]http://www.waterbridgereview.org/092005/cnv_see.php
①申丹、韩加明、王丽亚著:《英美小说叙事理论研究》,北京大学出版社,2005,第114页,第115页。
②Henry James, The Art of the Novel, p.325.转自:申丹、韩加明、王丽亚著:《英美小说叙事理论研究》,北京大学出版社,2005,第119页。
①Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005:5.
①Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005:12.
②Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005:17.
③Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005:30.
①Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005:135.
②Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005:138.
①Lisa See. Snow Flower and the Secret Fan Random House, Inc., 2005:51-52.
②Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005.:61.
①Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005.:59.
②Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005.:34.
①关合凤:悖逆与抗争——美国华裔女小说家作品之主题研究[J]。《外国语言文学》,2002,第4期,第61页—第65页。
①“Conversations: Lisa See: Author of Snow Flower and the Secret Fan”[EB/OL]. Waterbridge Review, (2005-9) [2009-6-10] http://www.waterbridgereview.org/092005/cnv_see.php
②Lisa See. Shanghai Girls. Random House, Inc., 2009.
③“炒冷饭”是新闻媒体对娱乐界的某些人物拿陈年旧事、或早已尽人皆知的事件,来当作噱头,重新炒作以提升曝光度。
①"On Gold Mountain: A Chinese American Experience", The Smithsonian Institution. 2001
②“Conversations: Lisa See: Author of Snow Flower and the Secret Fan”[EB/OL]. Waterbridge Review, (2005-9) [2009-6-10]http://www.waterbridgereview.org/092005/cnv_see.php
③《出版者周刊》(Publishers Weekly)称之为“一本成功并引人入胜的小说”。同时,《书目》(Booklist)杂志评价一本“生动、多彩的姐妹情谊赞美诗”。
①Tara Parker-Pope, "In Sisters, Love and an Urge to Wring Her Neck," New York Times, 03/18/2008
②Daniel Olivas, "The Elegant Variation", 10/03/2007
①Lisa See. Shanghai Girls. Random House, Inc., 2009:11.
②Lisa See. Shanghai Girls. Random House, Inc., 2009:27.
①Lisa See. Shanghai Girls. Random House, Inc., 2009:75.
①Lisa See. Shanghai Girls. Random House, Inc., 2009:308-309.
①William D. Estrada, "Los Angeles' Old Plaza and Olvera Street: Imagined and Contested Space", Western Folklore, 1999, 58 (2) : 121-122
②20世纪50年代初期,由美国参议员约瑟夫·麦卡锡(Joseph Raymond McCarthy)煽起的美国全国性反共“十字军运动”。
③上世纪40年代兴盛的旧唐人街的组建者。
①Lan Samantha Chang. Hunger. New York: W. W. Norton & Company, 1998.
②Lan Samantha Chang. Inheritance. New York: W.W. Norton, 2004.
③美国笔会/跨越边际奖(The PEN/Beyond Margins Award for a Novel),马萨诸塞州荣誉图书(A Massachusetts Honor Book in Fiction)、桐山名书奖(A Kiriyama Prize Notable Book)。见原著封底。
④Lan Samantha Chang. All Is Forgotten, Nothing Is Lost: A Novel. W. W. Norton & Company, 2010.9 http://books.wwnorton.com/books/detail.aspx?ID=17077该书中文译名为本论文笔者所译。
①Peguin Group.”AN INTERVIEW WITH LAN SAMANTHA CHANG”[EB].(2003-3-19)[2009-9-8]. http://us.penguingroup.com/static/rguides/us/hunger.html
①戴维·梅赫根“充满矛盾与挣扎的写作之路:记美国华裔女作家张岚”(美国《波士顿环球报》文章)。转引自连云港信息港网(2010-07-24). [EB]。[2009-5-21] http://www.lygjiaoyi.com/html/2010/0724/27622.html
②W. W. Norton & Company:“Lan Samantha Chang”[DB/OL].[2009-9-2] http://books.wwnorton.com/books/Author.aspx?id=5263
①Lan Samantha Chang Hunger. Penguin Books, v. 2000:61.
②Lan Samantha Chang Hunger. Penguin Books, v. 2000:17.
①音盲者无法分别一首好听的曲子和难听的旋律之间的差别,在小说中安娜分辨不出音调之间的差异,也无法准确的弹奏出动听的乐曲。
①安德鲁·本尼特,尼古拉·罗伊尔:《关键词:文学、批评与理论导论》,汪正龙、李永新译。广西师范大学出版社,2007,第101页。
②用音叉取“标准音”是钢琴调律过程中十分重要的环节之一。它的重要性在于关系到一台钢琴各键音处在什么音高位置上。
①Lan Samantha Chang Hunger. Penguin Books, v. 2000:65.
①蒲若茜:越界”与“回归”——20世纪末华裔美国文学的主题演变[J],《中国比较文学》,2006年第2期。
②Lan Samantha Chang Hunger. Penguin Books, v. 2000:94-140.
③戴维·梅赫根“充满矛盾与挣扎的写作之路:记美国华裔女作家张岚”(美国《波士顿环球报》文章)。转引自连云港信息港网(2010-07-24). [EB]。[2009-5-21] http://www.lygjiaoyi.com/html/2010/0724/27622.html
④Lan Samantha Chang. Inheritance. New York: W.W. Norton, 2004.
①Lan Samantha Chang. Inheritance. New York: W.W. Norton, 2004: 121.
①张琼:“沉默”的时代与文化疆界——论美国华裔作家张岚的《遗产》[J]。《复旦外国语言文学论丛》,2008年秋季号,第27页。
①魏全凤:北美新生代华裔女作家的自我书写[J]。《名作欣赏》,2011年,第3期。
②Richard Eder,“The Great Wall”. New York Times Book Review. 2004-12-5:72.
①侯金萍(饶芃子教授指导).华裔美国小说成长主题研究[D]。暨南大学2010年5月。
②取单德兴专著《“开疆”与“辟土”——美国华裔文学与文化》书名中“先行者所做贡献”之意。
③赵文书:跨世纪华裔美国国文学鸟瞰[A]。吴冰、王立礼主编,《华裔美国作家研究》[M]。天津:南开大学出版社,2009年,第545页。
①Jen,Gish. The Love Wife [M]. New York: Alfred A. Knopf, 2004.
②Louie, Andrea. Moon Cakes [M]. New York: Ballantine Books, 1995
③Keltner, Kim Wong. The Dim Sum of All Things [M]. New York: Avon Trade, 2004
④Keltner, Kim Wong. Buddha Baby [M]. HarperCollins, 2005
⑤Keltner, Kim Wong. I Want Candy [M]. HarperCollins, 2008.
⑥70年代在美国风靡一时的家庭处境喜剧。从1969年9月开播一直持续到1974年3月。
①Stella Dong. Get Happy [N/OL]. South China Morning Post (2005-12-25) [2009-11-12] http://www.redroom.com/publishedreviews/get-happy
②Helen Fielding. Bridget Jones’s Diary [M].Picador, 2001.(中文版[英]海伦·菲尔丁著,庄静君译。《BJ单身日记》[M]。天津人民出版社,2007.(故事梗概:32岁的单身女子琼斯唯一的一点点理想就是减肥和找到一份爱情。层出不穷的意外、惊喜、啼笑皆非的偶遇,以及令人忍俊不禁的怪事,接踵而来。)
③《花木兰》原剧简介:花木兰女扮男装代父从军这一中国民间煮故事深入人心,继1998年迪士尼混推出动画版《花木兰》大获成惯功后,香港导演马楚成与演员赵薇、陈坤再次将这一故事搬上银幕。参见:时光网.《花木兰》剧情(2009-06-16)[2009-11-13].http://movie.mtime.com/98083/plots.html
④《独领风骚》原剧简介:故事以美国比佛利山庄的一家贵族中学为背景,讲述学生返校时争奇斗艳,互相凸显自行己高人一筹的能耐。参见:时光网.《独领风骚》剧情( 2006-03-09 )[2009-11-13].http://movie.mtime.com/18224/plots.html
①Stella Dong. Get Happy [N/OL]. South China Morning Post (2005-12-25) [2009-11-12] http://www.redroom.com/publishedreviews/get-happy
②华声报。黄锦莲新著《点心的一切》反映美华人成长历程[N/OL]。(2004-3-17)[2009-11-12]. http://www.china.com.cn/chinese/ChineseCommunity/518352.htm
③Keltner, Kim Wong. The Dim Sum of All Things [M]. New York: Avon Trade, 2004:1.
①Keltner, Kim Wong. The Dim Sum of All Things [M]. New York: Avon Trade, 2004:2.
②华声报.黄锦莲新著《点心的一切》反映美华人成长历程[N/OL](2004-3-17)[2009-11-12]. http://www.china.com.cn/chinese/ChineseCommunity/518352.htm
①Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998.
②Wu, Frank H. Yellow. Race in America Beyond Black and White. New York: Basic Books, 2002.
①Cryer, Dan. "Rev. of Eating Chinese Food Naked. "[N], Newsday. 1998-1-11 : B11.
②Kim, Elaine H. Asian American Literature: An Introduction to the Writers and their Social Context. Philadelphia: Temple UP, 1982. Morin, Carol. "Rev. of Eating Chinese Food Naked. "[N]. The Scotsman. 1998-3-7: 14.
③Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:11.
④Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:25.
①蒲若茜:《“越界”与“回归”——20世纪末华裔美国文学的主题演变》,《中国比较文学》,2006年第2期,第95页。
②Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:15.
③Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:16.
④Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:18;168.
⑤Wenying Xu,“Sexuality, Colonialism, and Ethnicity in Monique Truong’s The Book of Salt and Mei Ng’s Eating Chinese Food Naked”, Eating Identities :Reading Food in Asian American Literature[M], University of Hawaii Press, 2008:127-163.
⑥Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:18;49.
⑦Bella Adams, Asian American Literature, Edinburgh University Press. 2008:161-167.
①Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:18.
②Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:119-120.
③Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:104.
①勒内·韦勒克,奥斯汀·沃伦著;刘象愚、邢培明等译:《文学理论》[M]。南京:江苏教育出版社,2005年,第6页。
①阎景娟:《文学经典论争在美国》[M]。社会科学文献出版社,2010年3月,第12页。
①刘心莲:《性别、种族、文化:美国华裔女性写作探析》[D]。武汉:华中师范大学,2004年4月,第84页。
①金莉:“绪论”,《20世纪美国女性小说研究》[M],金莉等著。北京大学出版社,2010年6月,第7页。
②韩华君:《任壁莲:走向多元文化的借鉴与融合》[A],《海外华人女作家评述》(美国卷·第一辑)[C]。北京:中国文联出版社,2006年,第259页。
①尹晓煌著,徐颖果主译:《美国华裔文学史》(Chinese American Literature since the 1850s)。天津:南开大学出版社,2006,第282页。
①单德兴:《创造自我/族裔:任壁莲访谈录》[A],《“开疆”与“辟土”——美国华裔文学与文化》[M]。天津:南开大学出版社,2006,第235页。
②韩华君:《任壁莲:走向多元文化的借鉴与融合》[A],《海外华人女作家评述》(美国卷·第一辑)[C]。北京:中国文联出版社,2006年,第243页。
③单德兴:《创造自我/族裔:任壁莲访谈录》[A],《“开疆”与“辟土”——美国华裔文学与文化》[M]。天津:南开大学出版社,2006,第250页。
④朱振武:《美国小说本土化的多元因素》,上海外语教育出版社,2006年,第236页。
①Helena Grice, Negotiating Identites:an introduction of Asian American women’s writing. Manchester University Press, 2002:35.
②刘心莲:《性别、种族、文化:美国华裔女性写作探析》[D]。武汉:华中师范大学,2004年4月,第53页。
①王岳川:《当代西方最新文论教程》[M]。上海:复旦大学出版社。2008年12月,(绪论)第5页。
①Brown,James W. ed. N. d.“Litt?rature et Nourriture.”Dathousie French Studies 11:4-7.
②Mote,Frederick W. 1977.“Yuan and Ming.”In K. C. Chang, ed., 195-257.
③如Wenying Xu, Eating Identities: Reading Food in Asian American Literature,2008; Keaton, Hetty Lanier, Feeding hungry ghosts: Food, family, and desire in stories by contemporary Chinese American women (Maxine Hong Kingston, Amy Tan, Lan Samantha Chang)2003; Martha Manning: The Common Thread: Mothers and Daughters: The Bond We Never Outgrow, 2003.
①黄秀玲著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》(Reading Asian American Literature: From Necessity to Extravagance)。北京:中国社会科学出版社,2007,,第43页。
②黄秀玲著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》。北京:中国社会科学出版社,2007,第66页。
③黄秀玲著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》。北京:中国社会科学出版社,2007,第82页。
④如布朗和马素(Brown and Mussell)选集《美国的族裔和区域饮食习惯:族群身份的表现》(Ethnic and Regional Foodways in the United States : The Performance of Group Identity)。
①黄秀玲著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》。北京:中国社会科学出版社,2007,第51页。
②Katherine Forestier .“Cold Sex Food for Thought ,”in South China Morning Post (14 March, 1998), p.8.转引自赵文书:X一代华美小说简论[J]。《当代外国文学》,2007年,第3期。
③黄秀玲著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》。北京:中国社会科学出版社,2007年,第59页。
①黄秀玲著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》。北京:中国社会科学出版社,2007,第32页。
①Teiser, Stephen.“The Spirits of Chinese Religion.”Religions of China in Practice. Princeton:Princeton UP, 1996:26.
②Keaton, Hetty Lanier.Feeding hungry ghosts: Food, family, and desire in stories by contemporary Chinese American women (Maxine Hong Kingston, Amy Tan, Lan Samantha Chang)[D].The University of Tulsa. 2002:28.
①Skenzay, Paul and Tera Martin, eds. Conversations with Maxine Hong Kingston. Jackson: Up of Mississippi, 1998.
②Keaton, Hetty Lanier.Feeding hungry ghosts: Food, family, and desire in stories by contemporary Chinese American women (Maxine Hong Kingston, Amy Tan, Lan Samantha Chang)[D].The University of Tulsa. 2002:315.
①Keaton, Hetty Lanier.Feeding hungry ghosts: Food, family, and desire in stories by contemporary Chinese American women (Maxine Hong Kingston, Amy Tan, Lan Samantha Chang)[D].The University of Tulsa. 2002:245.
①Orzech, Charles.”Saving the Burning-Mouth Hungry Ghost”[A]. Donald S. Lopez, ed., Religions of China in practice[M]. Princeton University Press, 1996:279.
②Lim, Shirley Geok-lin. Approaches to Teaching Kingston’s the Woman Warrior. New York: The Modern Language Association of American, 1991:55.
①Maxine Hong Kingston,The Woman Warrior:Memoirs of Girlhood among Ghosts. New York : Vintage, 1976:183.
②Amy Tan,The Joy Luck Club, Penguin Books, 1989:17.
①石平萍:《任壁莲:“美国亚裔作家就是美国作家”》[A],吴冰、王立礼主编,《美国华裔作家研究》[C]。天津:南开大学出版社,2009,第341页。
①赵毅衡:三层茧内:华人小说的题材自限[J]。《暨南学报(哲学社会科学版)》,2005年,第2期,第45页-第50页。
①勒内·韦勒克,奥斯汀·沃伦著;刘象愚、邢培明等译:《文学理论》[M]。南京:江苏教育出版社,2005年,第3页。
1.安德鲁·本尼特和尼古拉·洛伊尔:《关键词:文学、批评与理论导论》[M],汪正龙、李永新译。广西师范大学出版社,2007。
2.埃默里·埃利奥特(主编):《哥伦比亚美国文学史》。四川辞书出版社,1994。
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36. Lai, Him Mark Genny Lim, and Judy Yung. Island: Poetry and History of Chinese Immigrants on Angel Island,1910-1940. Reprint. Seattle: University of Washington Press, 1989.另有中文版:麦礼谦,林小琴,杨月芳:《天使岛诗歌与华人移民,1910-1940》,华盛顿大学出版社,1991。
37. Lim, Shirley Geok-lin, John Blair Gamber, Stephen Hong Sohn and Gina Balentino, eds. Transnational Asian American Literature: Sites and Transits. Philadelphia: Temple UP, 2006.
38. Lim, Shirley Geok-lin. Approaches to Teaching Kingston’s the Woman Warrior. New York: The Modern Language Association of American, 1991.
39. Lim, Shirley Geok-lin.“The Tradition of Chinese American Women’s Life Stories: Thematics of Race and Gender in Jade Snow Wong’s Fifth Chinese Daughter and Maxine Hong Kingston’s The Woman Warrior.”American Women’s Autobiography: Fea(s)ts of Memory. Ed. Margo Culley. Madison: U of Wisconsin P, 1992. 252-67
40. Madsen, Deborah L.“History of Chinese American Literature”from Chinese American Writers (Gale study guides to great literature第9卷) Detroit: Thomson Gale, 2002.
41. Mei Ng’s Eating Chinese Food Naked”, Eating Identities :Reading Food in Asian American Literature, University of Hawaii Press, 2008:127-163.
42. Martha Manning, The Common Thread: Mothers and Daughter: The Bond We Never Outgrow [M]. Quill, 2003.
43. Matsukawa, Yuko.“MELUS Interview: Gish Jen.”MELUS 18:4 (Winter 1993/1994). 111-21.
44. Nelson, Emmanuel S. (ed. and preface). Asian American Novelists: A Bio-Bibliographical Critical Sourcebook. Westport, CT: Greenwood; 2000.
45. Orzech, Charles.”Saving the Burning-Mouth Hungry Ghost”[A]. Donald S. Lopez, ed., Religions of China in practice. Princeton University Press, 1996:279.
46. Paul Wong, Chienping Faith Lai, Richard Nagasawa and Tieming Lin.“Asian Americans as a Model Minority: Self-Perceptions and Perceptions by Other Racial Groups”[A] Sociological Perspectives Published: University of California Press.1998:95-118. [2009-1-3]: http://www.jstor.org/stable/1389355
47. Rocío G. Davis and Sue-IM Lee, ed. Literary Gestures The Aesthetic in Asian American Writing. Temple University Press, 2006.
48. Richard Eder,“The Great Wall”[N]. New York Times Book Review. Dec 5, 2004.
49. Rocío G. Davis and Sue-IM Lee, ed. Literary Gestures The Aesthetic in Asian American Writing, Temple University Press, 2006
50. Stella Dong. Get Happy [N/OL]. South China Morning Post (2005-12-25) [2009-11-12] http://www.redroom.com/publishedreviews/get-happy
51. Shi, Pingping(石平萍). Mother-Daughter Relationship and the Politics of Race and Gender in Chinese American Women's Writings: A Study of The Woman Warrior, The Joy Luck Club, and Bone (美国华裔妇女文学中的母女关系及种族和性别的政治:对《女勇士》、《喜福会》和《骨》的研究)[D].北京外国语大学, 2002.
52. Skenzay, Paul, and Tera Martin, editors. Conversations with Maxine Hong Kingston. Jackson: Up of Mississippi, 1998.
53. Sui Sin Far, Mrs. Spring Fragrance and Other Writings (1912). (ed.). Amy Ling and Annette White-Parks. U. of Illinois P, 1995.
54. Teiser, Stephen.“The Spirits of Chinese Religion.”Religions of China in Practice. Princeton: Princeton UP, 1996.
55. Vanessa Holford Diana,Biracial/Bicultural Identify in the Writings of Sui Sin Far [J]. MELUS. 2001, 26(2).
56. Wang, Chih-ming.“Thinking and Feeling Asian America in Taiwan”, The Amrican Studies Association,2007.
57. Wang, Jianhui, Sexual politics in the works of Chinese American women writers (美国华裔女作家作品中的性别政治): Sui Sin Far, Maxine Hong Kingston, and Amy Tan.Indiana University of Pennsylvania.;English. 2007/UMI Research Press
58. Wendy Ann Ho. Mother-and-daughter writing and the politics of location in Maxine Hong Kingston's The woman warrior and Amy Tan's The joy luck club. University of Wisconsin--Madison, 1993.
59. Wong, Sau-ling Cynthia.“Chinese American Literature”. An Interethnic Companion to Asian American Literature, New York: Cambridge University Press, 1997.
60. Xiaojing Zhou, Samina Najmi. Ed. Form and Transformation in Asian American Literature, [C]. Seattle and London: University of Washington Press, 2005
61. Yung, Judy, Gordon H. Chang, and Him Mark Lai, eds. Chinese American Voices : From the Gold Rush to the Present. Berkeley: U of California P, 2006.
62. Jen,Gish. The Love Wife . New York: Alfred A. Knopf, 2004.
63. Keltner, Kim Wong. The Dim Sum of All Things . New York: Avon Trade, 2004
64. Keltner, Kim Wong. Buddha Baby . HarperCollins, 2005
65. Keltner, Kim Wong. I Want Candy . HarperCollins, 2008.
66. Kingston, Maxine Hong. The Woman Warrior:Memoirs of Girlhood among Ghosts. New York : Vintage, 1976.
67. Lisa See. On Gold Mountain: The One-Hundred-Year Odyssey of My Chinese American Family. New York:St. Martins, 1995.
68. Lisa See. Flower Net, New York: HarperCollins, 1997.
69. Lisa See. The Interior. New York: HarperCollins, 1999.
70. Lisa See,. Dragon Bones. Random House, Inc., 2003.
71. Lisa See. Shanghai Girls. Random House, Inc., 2009.
72. Lisa See. Peony in Love. Random House, Inc., 2007
73. Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005.
74. Lisa See. Dreams of Joy: A Novel Random House , Inc., 2011
75. Lan Samantha Chang. Hunger. New York: W. W. Norton & Company, 1998.
76. Lan Samantha Chang Hunger. Penguin Books, v. 2000.
77. Lan Samantha Chang. Inheritance. New York: W.W. Norton, 2004.
78. Lan Samantha Chang. All Is Forgotten, Nothing Is Lost: A Novel. W. W. Norton & Company, 2010, 9.
79. Ng , Mei . Eating Chinese Food Naked . New York: Scribner, 1998.
80. Louie, Andrea. Moon Cakes. New York: Ballantine Books, 1995
81. Tan, Amy. The Joy Luck Club, Penguin Books, 1989.
82. Blinde, Patricia Lin. "The Icicle in the Desert: Perspective and Form in the Works of Two Chinese-American Women Writers." MELUS : The Journal of the Society for the Study of the Multi-Ethnic Literature of the United States.1979,6-3:51-71.
83. Curton, Carman C. How Anthologies Work: Locating Asian American Women’sWriting in the American Literary Narrative(文选的作用:亚裔美国女性写作在美国文学叙述中的定位)(1999), DAI-A 60/07, Jan 2000.
84. Gao, Yan. A Metaphorical Strategy : An Interpretation of Maxine Hong Kingston’s“Ghost Stories”/一个隐喻性策略:解读汤亭亭的“鬼故事”(1993), DAI-A 54/09, Mar 1994.
85. Leonard, Shannon T. Multiple Choice: Literary Racial Formations of Mixed Race Americans of Asian Descent (2001), DAI-A 62/07, p. 2424, Jan 2002
86. Li, Leiwei (李磊伟). Monkeying Tradition: Reconstructing Contemporary Chinese-American Literary Culture (1991), DAI-A 52/04, p. 1330, Oct 1991.
87. Lok Chua, Cheng.“Goklen Mountain :Chinese Versions of the American Dream in Lin Yutang Louis Chu, and Maxine Hong Kingsto.”Ethnic Groups 1982-4:33-59.
88. Peng Bisiar, Nan. Beyond Virtue and Vice: The Literary Self in Chinese-American Literature (Self) /超越善与恶:华裔美国文学中的文学自我(1990), DAI-A 51/10, p. 3413, Apr 1991.
89. Suttilagsana, Supattra. Recurrent Themes in Asian American Autobiographical Literature/亚裔美国自传体文学的恒久主题, DAI-A 47/11, p. 4086, May 1987.
90. Thongthiraj, Rapeepanchanok Malinee. ''To be or not to be'...is that the question'? Race and identity transformations in Asian American literature (2000), DAI-A 61/10, p. 4056, Apr 2001.
91. Cheung, King-Kok (张敬珏).“‘Don’t Tell’: Imposed Silences in The Color Purple and The Woman Warrior.”PMLA 103.1988 (3): 162-74.
92. Blinde, Patricia Lin. "The Icicle in the Desert: Perspective and Form in the Works of Two Chinese-American Women Writers." MELUS : The Journal of the Society for the Study of the Multi-Ethnic Literature of the United States. 1979 (6):3.
93. Estrada, William D. "Los Angeles' Old Plaza and Olvera Street: Imagined and Contested Space", Western Folklore, 1999, 58 (2).
94. Lan, Shouting.“Chinese American female writer is the Finalist of Young Lions Literary Awards”[N]. Wenhui Reader’s Weely. 2005-4-27
95. Raphael, Lev. "Dragon Bones" [N]. Fort Worth Star-Telegram, 2003-7-23.
96. Rosenberg, Amy S. "Novels Focused on Her Family Lineage", 2009-5-26.
97. See, Lisa. "Three Gorges Dam is potential new symbol in China, possibly surpassing even the Great Wall", NPR, 2003-8-12.
98. Tara Parker-Pope, "In Sisters, Love and an Urge to Wring Her Neck"[N]. New York Times, 2008-03-18.
99. HarperCollins Publishers. Kim Wong Keltner (About the Author) [EB/OL]. [2009-11-12].http://www.harpercollins.com/author/microsite/about.aspx?authorid=26356
100.Peguin Group.”AN INTERVIEW WITH LAN SAMANTHA CHANG”[EB/OL]. (2003-3-19) [2009-9-8]. http://us.penguingroup.com/static/rguides/us/hunger. html
101 W. W. Norton & Company:“Lan Samantha Chang”[DB/OL]. [2009-9-2] http://books.wwnorton.com/books/Author.aspx?id=5263
②Sau-ling Cynthia Wong.“Chinese American Literature”. An Interethnic Companion to Asian American Literature, New York: Cambridge University Press, 1997: 39.
①张福贵:《活着的鲁迅:鲁迅思想价值的当代意义》[M]。中国社会科学文献出版社,2010年,第1页。
②Yen Le Espiritu, Asian American Panethnicity: Bridging Institutions and Identities [M]. Philadelphia: Temple University Press, 1992:33.
③Paul Wong, Chienping Faith Lai, Richard Nagasawa and Tieming Lin“Asian Americans as a Model Minority: Self-Perceptions and Perceptions by Other Racial Groups”[A] Sociological Perspectives Published : University of California PressPage 96 of 95-118. [2009-1-3]: http://www.jstor.org/stable/1389355
④Wong, Paul.“The Emergence of the Asian American Movement”[J]. Bridge2. 1972:32-39. Kim, Elaine H. Asian American Literature: An Introduction to the Writings and Their Social Context. Philadelphia: Temple UP, 1982.
①Kim, Elaine H. Asian American Literature: An Introduction to the Writings and Their Social Context [M]. Beijing: Foreign Language Teaching and Research P(外研社版), 2006: p174-175.
②Kai-yu Hsu(许芥昱), Helen Palubinskas,eds., Asian-American authors:Multi-ethnic literature Midnight Novel of Suspense [M]. Boston: Houghton Mifflin Company, 1976.
③Frank Chin et al. eds., Aiiieeeee!: An Anthology of Asian American Writers. Washington. D.C.: Howard University Press, 1974.
④Jeffery Paul Chan et al. eds., The Big Aiiieeee: An Anthology of Chinese American and Japanese American Literature. New York: Meridan, 1991.
⑤蒲若茜:《族裔经验与文化想象:华裔美国小说典型母题研究》[M]。北京:中国社会科学出版社出版,2006,第13页-第15页。
⑥“See Frank Chin”[J]. Bridge 2,(Dec)1972:30.
⑦Frank Chin er al. eds. Aiiieeeee!: An Anthology of Asian American Writers [M]. New York : Mentor, 1991: xiii-xvi.
⑧Helen Zia.“Frank Chin (1940- )”, Notable Asian Americans. Gale Research [EB/OL], 1995:50-51.[2009-10-5] http://bookdragonreviews.files.wordpress.com/2009/10/chin-frank.pdf
①“第一阶段,民族意识阶段,移民在许多细节和观念方面,充分认识到自己与其他人的不同;第二阶段,试图与美国白人认同,迫切希望后代被美国社会接受;第三阶段,移民的后代开始了政治觉悟;第四阶段,移民开始对自己的根产生兴趣,想了解更多祖辈的故国;第五阶段,有可能完全适应美国社会并融合,但这个过程极长,移民及其后代或许会中途放弃,新移民也可能因为基础较好,不必为要求与白人认同而困扰”。参见吴冰:《哎——咿!听听我们的声音!—美国亚裔文学初探》[J]。《国外文学》,1995年,第2期,第37页。
②王烺烺:《亚裔美国文学的定义和嬗变》[J]。《西北师大学报(社会科学报)》,2003年,第4期。
③Elaine H. Kim,“Preface”[A]. In Jessica Tarahata Hagedorn, ed., Charlie Chan is dead: an anthology of contemporary Asian American fiction[C]. Penguin Books, 1993: viii.
④张子清:《与亚裔美国文学共生共荣的华裔美国文学》,《华女阿五》,黄玉雪(Jade Snow Wong)著,张龙海译。南京市:译林出版社,2004,(总序)第4页-第5页。
⑤奥尔·E.罗尔瓦格的观点是:“用挪威语言所作的族裔文学,并非移民文学,而是用挪威文创作的美国文学”。参见尹晓煌著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006。
①Cheung, King-Kok (张敬珏), and Stan Yogi . Asian American Literature: An Annotated Bibliography. New York: The MLA of America, 1988.
②黄秀玲(Sau-ling Cynthia Wong)著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》(Reading Asian American Literature: From Necessity to Extravagance)。北京:中国社会科学出版社,2007,第14页。
③参见[英]安德鲁,尼古拉著,汪正龙、李永新译。《关键词:文学、批评与理论导论》(An Introduction to Literature Criticism and Theory)[M]。广西师范大学出版社,2007,第14页。
①尹晓煌著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006,第55页。
②吴冰:“导论”,《华裔美国作家研究》,吴冰、王立礼主编。天津:南开大学出版社,2009,第4页。
③受篇幅所限,此文不再赘述每种译法的具体代表性文献。郭英剑对以往译法的总结为前四种,参见郭英剑:当代美国华裔文学方兴未艾[N]。《社会科学报》,2009年8月27日。
④第四种参见卫景宜:美国华裔英语文学研究[N]。《文汇报》,2001年3月13日,第2版。
⑤第五种参见吴冰:关于华裔美国文学研究的思考[J]。《外国文学评论》,2008年,第2期,第15页。
⑥第六种译法是张子清为避免“华人”与“华裔”的混淆,且被美国人统称为Chinese American writers,所以提出此建议。参见张子清:华美文学的界定与现状[N]。《文学报》,2002年5月9日,第2版。
①王理行、郭英剑:论Chinese American Literature的中文译名及其界定[J]。《外国文学》,2001年第2期,第89页。
①依照1980年颁布的《中国国籍法》:“华侨,是尚未加入外籍的移民,包括已取得居住国永久居民身份者,仍保留本国公民身份;华人,是已加入外国国籍的移民,法律身份已是外国人;华裔,是华人或者华侨的后代”
②吴前进:《美国华侨华人文化变迁论》[M]。上海社会科学院出版社,1998年,第154页。
③这里的“移民精英”基本同尹晓煌专著《美国华裔文学史》中提到的“‘开化’的华人”是相同含义,就是那些受满清政府资助、派遣,赴美留学的留学生或朝廷高官。参见[美]尹晓煌著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006,第50-51页。
①王理行、郭英剑:论Chinese American Literature的中文译名及其界定[J].《外国文学》,2001年第2期,第90页。
①“The Fourteenth Amendment (Amendment XIV)”http://www.archives.gov/exhibits/charters/constitution_amendments_11-27.html#14“14th Amendment Summary”http://www.14thamendmentsummary.com/14th-amendment-text/
②即父母为他国公民(外交官员或政府职务人员除外),并在美国有永久住所且在美居住,在美从事商贸活动。换而言之,如果某位华裔作家是在美国出生的,并从出生就获得美国国籍,而他(她)的父母尚未正式获得美国国籍(即旅美华侨),那么父母必须在美国有自己的房产,且都是在美国工作。而对于“美国父母在他国所生子女”,美国国籍法另有特别规定:1986年11月14日及之后出生的孩子(非婚生子另有规定),父母要有合法婚姻关系,保证一方在孩子出生时已经成为美国公民,且这一方(从14岁以后到自己的孩子出生前)已在美国生活至少5年,并且拥有房产资料来源:Acquisition of U.S. Citizenship by a Child Born Abroad : http://travel.state.gov/law/citizenship/citizenship_5199.html Citizenship and Nationality: http://travel.state.gov/law/citizenship/citizenship_782.html Birth of U.S. Citizens Abroad: http://travel.state.gov/law/family_issues/birth/birth_593.html
③徐颖果(编著):“导言”。《美国华裔文学选读》(英文原作节选+中文介绍、注释) (第二版)。天津:南开大学出版社,2008,第10页。
①诗歌大约135首,20世纪七十年代才得以被发现。多表达华人移民对过分畸形的美国移民政策的愤恨和斥责。参见Him Mark Lai, Genny Lim, and Judy Yung. Island : Poetry and History of Chinese Immigrants on Angel Island,1910-1940. Reprint. Seattle: University of Washington Press, 1989.另有中文版:麦礼谦,林小琴,杨月芳:《天使岛诗歌与华人移民,1910-1940》,华盛顿大学出版社,1991。
②何华,唐茂枝:华人移民致加州州长彼格勒阁下之公开信,《阿尔塔日报》,1852年4月30日,第2页。转引自:尹晓煌著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006,第10页,第39页。
③李楚:《一个华人的故事》,见哈密尔顿·霍尔特:《无名百姓真是故事自述》,纽约:波特斯书局,1906。转引自:尹晓煌著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006,第20页,第43页。
④李恩富:《我在中国的童年》(When I Was a Boy in China,1887);转引自:尹晓煌[美]著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006,第51页-60页。
⑤容闳:《我在中国和美国的生活》(又译《西学东渐记》)(My Life in China and America,1909)。转引自:尹晓煌[美]著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006。
⑥Deborah L. Madsen.“History of Chinese American Literature”from Chinese American Writers (Gale study guides to great literature第9卷) Detroit: Thomson Gale, 2002.[2009-2-3] http://home.adm.unige.ch/~madsen/Chinese%20American%20Literature.htm
①尹晓煌[美]著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006,第70-73页。
②《秧歌》(The Rice-Sprout Song)1956,《北地胭脂》(翻译为中文出版时名为《怨女》,由《金锁记》改编)1967。
③林语堂这位创做了大量英文著作(作品有小说、散文、杂文、人物传记等)的早期华侨作家在美国受欢迎的程度,与将他奉为偶像的晚辈——张爱玲却形成鲜明的反差。而张爱玲除了前面提到的两部小说,只发表了短篇小说《五四遗事》和散文《重访边城》,另外两篇在美国写的小说《雷峰塔》和《易经》都被退稿。
①席扬、翁强:文学思维活动的修辞化探寻——“文学命名”初探[J]。《山西大学师范学院学报》,2002年第1期,第18页。
①Chan, Sucheng (陈素贞). Chinese American Transnationalism: The Flow of People, Resources, and Ideas between China and America during the Exclusion Era. Philadelphia: Temple UP, 2006.
②程爱民:论美国华裔文学的发展阶段和主题内容[J]。《外国语》,2003年,第六期,第47页。
③单德兴:从文学评论到文化研究/批判:美国华裔文化研究刍议,《“开疆”与“辟土”——美国华裔文学与文化》[M]。天津:南开大学出版社,2006,第187页。
④1965年,美国移民法改革,政策的松动直接影响了美国亚裔群体内部的人口构成。见Herbert R. Barringer, Robert W. Gardner, Michael J. Levin. Asians and Pacific Islanders in the United States [M]. Russell Sage Foundation, 1993, p40.
⑤泛亚美运动:用“亚裔美国人”成为亚裔社团的自我称谓,并努力将广泛的亚洲地区的东方人团结起来。见黄秀玲(Sau-ling Cynthia Wong)著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》(Reading Asian American Literature: From Necessity to Extravagance)。北京:中国社会科学出版社,2007,第11页。
①周铭:汤亭亭:以笔为剑的女勇士,《20世纪美国女性小说研究》[M],金莉等著。北京大学出版社,2010年6月,第256-266页。
②范守义:(序)华裔美国人英语文学概观[A]。任璧莲:《典型的美国人》。太原:山西教育出版社,2002年。
③金莉:《伊迪丝·伊顿——种族歧视污泥中的水仙花》[A],《20世纪美国女性小说研究》[M],金莉等著。北京大学出版社,2010年6月,第21页。
①Amy Ling,Between Worlds: Women Writers of Chinese Ancestry [M]. New York: Pergamon.1990:39.
②尹晓煌著,徐颖果主译。《美国华裔文学史》(Chinese American Literature since the 1850s)(中译本)[M]。天津:南开大学出版社,2006年,第95页。
③Vanessa Holford Diana,Biracial/Bicultural Identify in the Writings of Sui Sin Far [J]. MELUS. 2001,26(2):161.
④Sui Sin Far, Mrs. Spring Fragrance and Other Writings (1912) . (ed.). Amy Ling and Annette White-Parks. U. of Illinois P, 1995.
⑤单德兴:《不是华人异乡客:黄玉雪访谈录》,《“开疆”与“辟土”——美国华裔文学与文化》,天津:南开大学出版社,2006,第219页。
⑥单德兴:《不是华人异乡客:黄玉雪访谈录》,《“开疆”与“辟土”——美国华裔文学与文化》,天津:南开大学出版社,2006,第216页。
①徐颖果(编著):Diana Chan(张粲芳)。《美国华裔文学选读》(英文原作节选+中文介绍、注释) (第二版)。天津:南开大学出版社,2008,第82-83页。
②Roh-Spaulding, Carol. "Diana Chang (1934- )". IN: Nelson, Emmanuel S. (ed. and preface); Asian American Novelists: A Bio-Bibliographical Critical Sourcebook. Westport, CT: Greenwood; 2000: 38-43.
③悉尼·史密斯:《女性自传的诗意:边缘化与自我表述小说》,印第安纳大学出版社,1987,第159页。
①徐颖果(编著):Maxine Hong Kingstong(汤亭亭)。《美国华裔文学选读》(英文原作节选+中文介绍、注释) (第二版)。天津:南开大学出版社,2008,第134-135页。
②单德兴:文字女勇士:汤亭亭访谈录,《“开疆”与“辟土”——美国华裔文学与文化》,天津:南开大学出版社,2006,第222-231页。
①威廉斯著,吴松江、张文定译,《文化与社会》,北京:北京大学出版社,1991年。
②单德兴:竹脊上的文字钓客:林永得访谈录,《“开疆”与“辟土”——美国华裔文学与文化》(作家访谈录与研究论文集)[M]。天津:南开大学出版社,2006,第252页。
①魏全凤:论美国华裔女作家何舜莲小说《玛德琳在沉睡》[J]。《当代外国文学》,2009年第2期,第134页。
①黄锦莲近期的新作:Buddha Baby,2005 I Want Candy,2008
②Ng , Mei Eating Chinese Food Naked. New York: Scribner, 1998.
③赵文书:跨世纪华裔美国国文学鸟瞰[A] ,吴冰、王立礼主编《华裔美国作家研究》[C].天津:南开大学出版社,2009年,第551页。
④金莉:“绪论”,《20世纪美国女性小说研究》[M].金莉等著。北京大学出版社,2010:年,第7页。
⑤单德兴:《“开疆”与“辟土”——美国华裔文学与文化》(作家访谈录与研究论文集)[M].天津:南开大学出版社,2006年,第249页。
①阎景娟:《文学经典论争在美国》[M]。社会科学文献出版社,2010年3月,第20页。
②以北京外国语大学美国华裔文学研究中心主页2009年7-10月发布的“Bibliography of Chinese American Literature(美国华裔文学原著书目)”、“华裔美国文学中、英文参考书目”、“华裔美国文学国内外博士学位论文目录”等文献目录为参照,通过中国知网、国家图书馆(馆藏目录),以及UMI、JSTOR、Wikipedia、Google-Scholar、gigapedia等电子资源,对与“美国华裔文学”或“华裔美国文学”相关文献进行检索。
①劳特(Paul Lauter)的著作有《重建美国文学:课程·进度·议题》(Reconstructing American Literature:Courses , Syllabi, Issues, 1983 )和《希斯美国文学选集》( The Heath Anthology of American Literature,1990)。与劳特同为重建美国文学史而努力的学者及著作还有,埃默里·埃利奥特主编《哥伦比亚美国文学史》(Emory Elliott, Columbia Literary Histrory of the United States,1988),柏柯维奇主编的新《剑桥美国文学史》(Sacvan Bercovich,The Cambridge History of American Literature,多卷本)。见单德兴:《反动与重演:美国文学史与文化批评》[M]。台北:书林出版有限公司,2001,第109—110页。
②单德兴:《“开疆”与“辟土”:美国华裔文学与文化》[M]。天津:南开大学出版社,2006,第187页。
③Stephen Hong Sohn , "'Valuing 'Transnational Queerness Politicized Bodies and Commodified Desires in Asian American Literature". in Lim, Shirley Geok-lin, John Blair Gamber, Stephen Hong Sohn and Gina Balentino, eds. Transnational Asian American Literature: Sites and Transits. Philadelphia: Temple UP, 2006
④Kim, Elaine H. Asian American Literature: An Introduction to the Writings and Their Social Context [M]. Beijing: Foreign Language Teaching and Research P(外研社版), 2006.
⑤王岳川:“序言”,《当代西方最新文论教程》[M]。上海:复旦大学出版社,2008年12月。
⑥埃默里·埃利奥特,克莱格·萨旺金:美国文学研究新方向:1980-2002[J]。《外国文学》,2007年,第四期,第137页。
①陆薇:《渗透中的解构与重构:后殖民理论视野中的华裔美国文学》[D]。北京语言大学,2005年,第37页。
②赵健秀等人编辑的《唉咦!亚裔美国作家文集》(Aiiieeeee!: An Anthology of Asian American Writers,1974)金惠经的《亚裔美国文学:作品及社会背景介绍》(Asian American Literature:An Introduction Their Social Context,1982)。张敬珏等编写的《亚裔美国文学书目提要》(Asian American Literature: An Annotated Bibliography,1988)林英敏的《世界之间:华裔美国女作家》(Between Worlds: Women Writers of Chinese Ancestry,1990)林玉玲和林英敏的《亚裔美国文学解读》(Reading the literatures of Asian American,1992 )黄秀玲的《解读美国亚裔文学:从必需到奢侈》(Reading American Literature: From Necessity to Extravagance,1993)
③丽莎·刘的《移民场景:亚裔美国文化政治》(Immigrant Acts: On Asian American Cultural Politics,1996)。凌津奇的《叙述民族主义:亚裔美国文学中的意识形态与形式》(Narrating Nationalisms: Ideology and Form in Asian American Literature.,1998)。李磊伟的《想象国家:亚裔美国文学与文化认同》(Imagining the Nation: Asian American Literature and Cultural Consent.,1998)。马圣美的《亚裔美国及亚裔离散文学中的移民主体》(Immigrant Subjectivities in Asian American and Asian Diaspora Literatures,1998)。
④尹晓煌著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006。
⑤周郁蓓:亚裔美国文学批评中的美国民族主义思想[J]。《文史哲》,2006年第3期,第104页。
⑥Blinde, Patricia Lin. "The Icicle in the Desert: Perspective and Form in the Works of Two Chinese-American Women Writers." MELUS : The Journal of the Society for the Study of the Multi-Ethnic Literature of the United States.1979,6-3:51-71.来源:JSTOR:http://www.jstor.org/stable/466953
⑦例如Cheng Lok Chua.“Goklen Mountain: Chinese Versions of the American Dream in Lin Yutang Louis Chu, and Maxine Hong Kingsto.”Ethnic Groups 1982-4:33-59.
①Bow, Leslie. Betrayal and Other Acts of Subversion: Feminism, Sexual Politics, Asian American Women’s Literature. Princeton, New Jersey: Princeton UP, 2001.
②比如在《尽在不言中:山本久支、汤亭亭、小川乐》(Articulate Silences: Hisaye Yamamoto, Maxine Hong Kingston, Joy Kogawa.,1993)将沉默的问题置于女性主义和族裔研究的维度。
③吴冰:《哎—咿!听听我们的声音!—美国亚裔文学初探》[J]。《国外文学》,1995年,第2期,37-45页
④吴冰:“导论”,《华裔美国作家研究》[C]吴冰、王立礼主编。天津:南开大学出版社,2009,第33页。
②见石平萍:Mother-Daughter Relationship and the Politics of Race and Gender in Chinese American Women's Writings: A Study of The Woman Warrior, The Joy Luck Club, and Bone[D]. (美国华裔妇女文学中的母女关系及种族和性别的政治:对《女勇士》、《喜福会》和《骨》的研究)。北京外国语大学,2002。最新发表,见蔡霞,石平萍:“疾风无形”:生态女性主义批评视角下的《喜福会》[C],郭继德主编。《美国文学研究》,2010年,第5辑,第401-410页。
③黄秀玲(Sau-ling Cynthia Wong)曾在其专著《从必需到奢侈》中,提出了“文本同盟”的概念,用以解释美国华裔学者的解读目的和作者创作的动机。她指出,亚裔美国文学的研究者和作者正在共同建立一个“亚裔美国文学的文本同盟”,这个同盟就像是亚裔美国族裔集体作为一个政治同盟而存在一样。见黄秀玲著,詹乔、蒲若茜、李亚萍译:《从必需到奢侈——解读亚裔美国文学》(Reading Asian American Literature: From Necessity to Extravagance)[M]。北京:中国社会科学出版社,2007年,第14页。
④张琼:《从族裔声音到经典文学——美国华裔文学的文学性研究及主体反思》[M]。上海:复旦大学出版社,2009,第281页。
①尹晓煌著,徐颖果主译。《美国华裔文学史》(中译本)[M]。天津:南开大学出版社,2006
②单德兴:《“开疆”与“辟土”——美国华裔文学与文化》[M](作家访谈录与研究论文集)。天津:南开大学出版社,2006。
③张琼:《从族裔声音到经典文学——美国华裔文学的文学性研究及主体反思》,上海:复旦大学出版社,2009,第281页。
①冯品佳的“魅影中国:谭恩美的《百种神秘感觉》、《接骨师的女儿》、与《防鱼溺水》中的跨国诡魅叙事”[J]。《英美文学评论》,2007年,第11期,第113-142页。
②张龙海的“戏仿、语言游戏、神秘叙事者、拼贴——论汤亭亭《引路人孙行者》中的后现代派艺术技巧[J]。《外国文学》,2005年,第3期,第100-105页。
③魏全凤:《论美国华裔女作家何舜廉小说<玛德琳在沉睡>》[J]。《当代外国文学》,2009年,第2期,
①张琼:《‘沉默’的时代与文化疆界——论美国华裔作家张岚的<遗产>》[J]。《复旦外国语言文学论丛》,2008年,第2期。
②秋叶:《亚裔美国文学研究的新起点》[N]。《中华读书报》,2009年7月,第17版。
③项丽丽,刘增美:《美国华裔文学批评的透视与思考》[J]。《东岳论丛》,2009年11月。
①傅景川,柴湛涵:美国当代多元化文学中的一支奇葩——奇卡诺文学及其文化取向[J]。《吉林大学社会科学学报》,2007年9月,第5期。
②吕娜:当代奇卡纳代表作家研究[D].长春:吉林大学文学院,2009。
①Garrett Hongo,”Asian American Literature: Questions of Identity”[J] Amerasia Journal 20.31994:4-5.引自Rocío G. Davis and Sue-IM Lee, ed. Literary Gestures The Aesthetic in Asian American Writing[C]. Temple University Press, 2006:8.
②勒内·韦勒克,奥斯汀·沃伦著;刘象愚、邢培明等译:《文学理论》[M]。南京:江苏教育出版社,2005年,第247页。
③蒲若茜:华裔美国文学研究的中国视野[J]。《江汉论坛》,2006年,第3期。
①周启超:多方位地吸纳有深度地开采——写在《当代国外文论教材精品系列》出版之际。《文学作品的多重解读》[M].迈克尔·莱恩编著,赵炎秋/译,北京大学出版社,2006,总序第4-6页。
②赵莉华:华裔文学创作与研究的误区[J]。《华文文学》,2006年2月,第84页。
①张琼:《从族裔声音到经典文学——美国华裔文学的文学性研究及主体反思》,上海:复旦大学出版社,2009。
①国内学者周铭将汤亭亭的四部主要作品视为反映其创作主体意识的四个不同阶段。周铭另举出另一学者张伟华的相似论断,即女权主义(《女勇士》)、种族平等(《中国佬》)、构建族裔文化属性(《孙行者》)、世界和平主义(《第五和平之书》)。见周铭:汤亭亭:一笔为剑的女勇士[A],《20世纪美国女性小说研究》[M],金莉等著。北京大学出版社,2010年6月,第257页。
②何成洲:性别研究的未来——与托莉·莫伊的访谈[J]。《当代外国文学》,2009年,第2期,第156页。
③迈克尔·莱恩编著:“序言”。《文学作品的多重解读》[M],赵炎秋/译。北京大学出版社,2006年,第1页。
①迈克尔·莱恩编著,赵炎秋/译,“序言”,《文学作品的多重解读》[M].北京大学出版社,2006,第2页。
②孙胜忠:20世纪西方文论演变的循环态和文学批评多元互补论[J]。《外国语》,2004年,第3期,第62页。
③[美]萨克文·伯科维奇/主编杨仁敬等/主译:《剑桥美国文学史》(第八卷,诗歌和文学批评1940-1995)[M]。北京:中央编译出版社,2007,第419页。
①“文学场”即“文学生产场”(the Fiield of literary production),是人类学、社会学家布迪厄(Pierre Bourdieu,1932-2002)将结构和历史视野辩证统一起来的一种文学观。
②张意:文学场。《西方文论关键词》,主编赵一凡等。外语教学与研究出版社,2006年第1版,第579页。
③勒内·韦勒克,奥斯汀·沃伦著;刘象愚、邢培明等译:《文学理论》[M]。南京:江苏教育出版社,2005年,第250页。
④勒内·韦勒克,奥斯汀·沃伦著;刘象愚、邢培明等译:《文学理论》[M]。南京:江苏教育出版社,2005年,第247页。
①“编者的话”,《外国文学动态》[J]。译林出版社。2010年第2期。
②《希思美国文学选集》(1990)收入了汤亭亭的《女勇士》中“白虎山学道”一章,《哥伦比亚美国文学史》(1988)有单独一章论述亚裔美国文学。见吴冰:《20世纪兴起的亚裔美国文学》, [J]《英美文学研究论丛》(第二辑),上海外语教育出版社,2001,第192页。
③吴冰:“导论”,《华裔美国作家研究》,吴冰、王立礼主编。天津:南开大学出版社,2009,第25页。
①张琼:《从族裔声音到经典文学——美国华裔文学的文学性研究及主体反思》[M].上海:复旦大学出版社,2009。
①Xian Liu, "Lisa Lenine See." in Asian American Novelists: A Bio-Bibliographical Critical Sourcebook. Ed. Emmanuel S. Nelson. Westport, CT: Greenwood Publishing Group, Inc. 2000:323.
②Lisa See. On Gold Mountain: The One-Hundred-Year Odyssey of My Chinese American Family. New York:St. Martins, 1995:xx.
③Lisa See. On Gold Mountain: The One-Hundred-Year Odyssey of My Chinese American Family. New York:St. Martins, 1995.
④“红色王子”和“红色公主”(Red Princes and Princesses)都是由于他们对毛主席的特殊奉献或极为忠诚而得名。见Lisa See, The Interior. New York: HarperCollins, 1999:112
⑤Lisa See. Flower Net. HarperCollins, 1997.
①Pam Spencer.“Flower Net”. School Library Journal (04/1998)。小说中女主人公也在介绍中国的办案方式时,对“花网”(flower net)的概念加以解释。见Lisa See. Flower Net, New York: HarperCollins, 1997: 152.
②Lisa See. Flower Net, New York: HarperCollins, 1997: 232-233.
③Lisa See. The Interior. New York: HarperCollins, 1999: 146-147.
④Lisa See, Dragon Bones. Random House, Inc., 2003.
⑤Lisa See, "Three Gorges Dam is potential new symbol in China, possibly surpassing even the Great Wall", NPR, 08/12/03
⑥Raphael, Lev. "Dragon Bones." Fort Worth Star-Telegram, 23 July 2003.
⑦Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005.
⑧Lisa See. Peony in Love. Random House, Inc., 2007
⑨邝丽莎(Lisa See)著,忻元洁译,《雪花和秘密的扇子》[M]。北京:人民文学出版社, 2006。
①康慨:邝丽莎新作灵感来自《牡丹亭》[N]。《中华读书报》,2007年6月27日http://www.gmw.cn/01ds/2007-06/27/content_630248.htm
②继1993谭恩美的畅销小说《喜福会》(The Joy Luck Club)之后,又一部即将以电影形式展现的华裔女性小说。该片由传媒大亨默多克之妻邓文迪与米高梅主席之妻弗劳伦斯·斯洛恩联手监制、著名华裔导演王颖执导。预计于2011年6月上映。
③Lisa See. Shanghai Girls. Random House, Inc., 2009.
④Lisa See. Dreams of Joy: A Novel. Random House, Inc., 2011.参见Amy S. Rosenberg, "Novels Focused on Her Family Lineage", 05/26/2009.
⑤Xian Liu, p. 323.另,1989年谭恩美的《喜福会》的成绩是9个月销售27.5万余册精装本。
⑥Dreaming: Hard Luck and Good Times in America, Los Angeles: University of California Press, 1996
⑦“Meet the Writer :Biography”, Barnes and Noble: http://search.barnesandnoble.com/Dragon-Bones/Lisa-See/e/9780345440310
①Lisa See. On Gold Mountain: The One-Hundred-Year Odyssey of My Chinese American Family. New York: St. Martins, 1995:24-25.
②赵丽明:作者的真诚(代序),《雪花和秘密的扇子》[M],邝丽莎(Lisa See)著,忻元洁译,北京:人民文学出版社, 2006,第4页。
③赵丽明:女书字数统计与异体字处理[J]。《内江师范学院学报》,2007年,第3期,第22页。
④“Conversations: Lisa See: Author of Snow Flower and the Secret Fan”[EB/OL]. Waterbridge Review, (2005-9) [2009-6-10]http://www.waterbridgereview.org/092005/cnv_see.php
①申丹、韩加明、王丽亚著:《英美小说叙事理论研究》,北京大学出版社,2005,第114页,第115页。
②Henry James, The Art of the Novel, p.325.转自:申丹、韩加明、王丽亚著:《英美小说叙事理论研究》,北京大学出版社,2005,第119页。
①Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005:5.
①Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005:12.
②Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005:17.
③Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005:30.
①Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005:135.
②Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005:138.
①Lisa See. Snow Flower and the Secret Fan Random House, Inc., 2005:51-52.
②Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005.:61.
①Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005.:59.
②Lisa See. Snow Flower and the Secret Fan. Random House, Inc., 2005.:34.
①关合凤:悖逆与抗争——美国华裔女小说家作品之主题研究[J]。《外国语言文学》,2002,第4期,第61页—第65页。
①“Conversations: Lisa See: Author of Snow Flower and the Secret Fan”[EB/OL]. Waterbridge Review, (2005-9) [2009-6-10] http://www.waterbridgereview.org/092005/cnv_see.php
②Lisa See. Shanghai Girls. Random House, Inc., 2009.
③“炒冷饭”是新闻媒体对娱乐界的某些人物拿陈年旧事、或早已尽人皆知的事件,来当作噱头,重新炒作以提升曝光度。
①"On Gold Mountain: A Chinese American Experience", The Smithsonian Institution. 2001
②“Conversations: Lisa See: Author of Snow Flower and the Secret Fan”[EB/OL]. Waterbridge Review, (2005-9) [2009-6-10]http://www.waterbridgereview.org/092005/cnv_see.php
③《出版者周刊》(Publishers Weekly)称之为“一本成功并引人入胜的小说”。同时,《书目》(Booklist)杂志评价一本“生动、多彩的姐妹情谊赞美诗”。
①Tara Parker-Pope, "In Sisters, Love and an Urge to Wring Her Neck," New York Times, 03/18/2008
②Daniel Olivas, "The Elegant Variation", 10/03/2007
①Lisa See. Shanghai Girls. Random House, Inc., 2009:11.
②Lisa See. Shanghai Girls. Random House, Inc., 2009:27.
①Lisa See. Shanghai Girls. Random House, Inc., 2009:75.
①Lisa See. Shanghai Girls. Random House, Inc., 2009:308-309.
①William D. Estrada, "Los Angeles' Old Plaza and Olvera Street: Imagined and Contested Space", Western Folklore, 1999, 58 (2) : 121-122
②20世纪50年代初期,由美国参议员约瑟夫·麦卡锡(Joseph Raymond McCarthy)煽起的美国全国性反共“十字军运动”。
③上世纪40年代兴盛的旧唐人街的组建者。
①Lan Samantha Chang. Hunger. New York: W. W. Norton & Company, 1998.
②Lan Samantha Chang. Inheritance. New York: W.W. Norton, 2004.
③美国笔会/跨越边际奖(The PEN/Beyond Margins Award for a Novel),马萨诸塞州荣誉图书(A Massachusetts Honor Book in Fiction)、桐山名书奖(A Kiriyama Prize Notable Book)。见原著封底。
④Lan Samantha Chang. All Is Forgotten, Nothing Is Lost: A Novel. W. W. Norton & Company, 2010.9 http://books.wwnorton.com/books/detail.aspx?ID=17077该书中文译名为本论文笔者所译。
①Peguin Group.”AN INTERVIEW WITH LAN SAMANTHA CHANG”[EB].(2003-3-19)[2009-9-8]. http://us.penguingroup.com/static/rguides/us/hunger.html
①戴维·梅赫根“充满矛盾与挣扎的写作之路:记美国华裔女作家张岚”(美国《波士顿环球报》文章)。转引自连云港信息港网(2010-07-24). [EB]。[2009-5-21] http://www.lygjiaoyi.com/html/2010/0724/27622.html
②W. W. Norton & Company:“Lan Samantha Chang”[DB/OL].[2009-9-2] http://books.wwnorton.com/books/Author.aspx?id=5263
①Lan Samantha Chang Hunger. Penguin Books, v. 2000:61.
②Lan Samantha Chang Hunger. Penguin Books, v. 2000:17.
①音盲者无法分别一首好听的曲子和难听的旋律之间的差别,在小说中安娜分辨不出音调之间的差异,也无法准确的弹奏出动听的乐曲。
①安德鲁·本尼特,尼古拉·罗伊尔:《关键词:文学、批评与理论导论》,汪正龙、李永新译。广西师范大学出版社,2007,第101页。
②用音叉取“标准音”是钢琴调律过程中十分重要的环节之一。它的重要性在于关系到一台钢琴各键音处在什么音高位置上。
①Lan Samantha Chang Hunger. Penguin Books, v. 2000:65.
①蒲若茜:越界”与“回归”——20世纪末华裔美国文学的主题演变[J],《中国比较文学》,2006年第2期。
②Lan Samantha Chang Hunger. Penguin Books, v. 2000:94-140.
③戴维·梅赫根“充满矛盾与挣扎的写作之路:记美国华裔女作家张岚”(美国《波士顿环球报》文章)。转引自连云港信息港网(2010-07-24). [EB]。[2009-5-21] http://www.lygjiaoyi.com/html/2010/0724/27622.html
④Lan Samantha Chang. Inheritance. New York: W.W. Norton, 2004.
①Lan Samantha Chang. Inheritance. New York: W.W. Norton, 2004: 121.
①张琼:“沉默”的时代与文化疆界——论美国华裔作家张岚的《遗产》[J]。《复旦外国语言文学论丛》,2008年秋季号,第27页。
①魏全凤:北美新生代华裔女作家的自我书写[J]。《名作欣赏》,2011年,第3期。
②Richard Eder,“The Great Wall”. New York Times Book Review. 2004-12-5:72.
①侯金萍(饶芃子教授指导).华裔美国小说成长主题研究[D]。暨南大学2010年5月。
②取单德兴专著《“开疆”与“辟土”——美国华裔文学与文化》书名中“先行者所做贡献”之意。
③赵文书:跨世纪华裔美国国文学鸟瞰[A]。吴冰、王立礼主编,《华裔美国作家研究》[M]。天津:南开大学出版社,2009年,第545页。
①Jen,Gish. The Love Wife [M]. New York: Alfred A. Knopf, 2004.
②Louie, Andrea. Moon Cakes [M]. New York: Ballantine Books, 1995
③Keltner, Kim Wong. The Dim Sum of All Things [M]. New York: Avon Trade, 2004
④Keltner, Kim Wong. Buddha Baby [M]. HarperCollins, 2005
⑤Keltner, Kim Wong. I Want Candy [M]. HarperCollins, 2008.
⑥70年代在美国风靡一时的家庭处境喜剧。从1969年9月开播一直持续到1974年3月。
①Stella Dong. Get Happy [N/OL]. South China Morning Post (2005-12-25) [2009-11-12] http://www.redroom.com/publishedreviews/get-happy
②Helen Fielding. Bridget Jones’s Diary [M].Picador, 2001.(中文版[英]海伦·菲尔丁著,庄静君译。《BJ单身日记》[M]。天津人民出版社,2007.(故事梗概:32岁的单身女子琼斯唯一的一点点理想就是减肥和找到一份爱情。层出不穷的意外、惊喜、啼笑皆非的偶遇,以及令人忍俊不禁的怪事,接踵而来。)
③《花木兰》原剧简介:花木兰女扮男装代父从军这一中国民间煮故事深入人心,继1998年迪士尼混推出动画版《花木兰》大获成惯功后,香港导演马楚成与演员赵薇、陈坤再次将这一故事搬上银幕。参见:时光网.《花木兰》剧情(2009-06-16)[2009-11-13].http://movie.mtime.com/98083/plots.html
④《独领风骚》原剧简介:故事以美国比佛利山庄的一家贵族中学为背景,讲述学生返校时争奇斗艳,互相凸显自行己高人一筹的能耐。参见:时光网.《独领风骚》剧情( 2006-03-09 )[2009-11-13].http://movie.mtime.com/18224/plots.html
①Stella Dong. Get Happy [N/OL]. South China Morning Post (2005-12-25) [2009-11-12] http://www.redroom.com/publishedreviews/get-happy
②华声报。黄锦莲新著《点心的一切》反映美华人成长历程[N/OL]。(2004-3-17)[2009-11-12]. http://www.china.com.cn/chinese/ChineseCommunity/518352.htm
③Keltner, Kim Wong. The Dim Sum of All Things [M]. New York: Avon Trade, 2004:1.
①Keltner, Kim Wong. The Dim Sum of All Things [M]. New York: Avon Trade, 2004:2.
②华声报.黄锦莲新著《点心的一切》反映美华人成长历程[N/OL](2004-3-17)[2009-11-12]. http://www.china.com.cn/chinese/ChineseCommunity/518352.htm
①Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998.
②Wu, Frank H. Yellow. Race in America Beyond Black and White. New York: Basic Books, 2002.
①Cryer, Dan. "Rev. of Eating Chinese Food Naked. "[N], Newsday. 1998-1-11 : B11.
②Kim, Elaine H. Asian American Literature: An Introduction to the Writers and their Social Context. Philadelphia: Temple UP, 1982. Morin, Carol. "Rev. of Eating Chinese Food Naked. "[N]. The Scotsman. 1998-3-7: 14.
③Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:11.
④Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:25.
①蒲若茜:《“越界”与“回归”——20世纪末华裔美国文学的主题演变》,《中国比较文学》,2006年第2期,第95页。
②Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:15.
③Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:16.
④Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:18;168.
⑤Wenying Xu,“Sexuality, Colonialism, and Ethnicity in Monique Truong’s The Book of Salt and Mei Ng’s Eating Chinese Food Naked”, Eating Identities :Reading Food in Asian American Literature[M], University of Hawaii Press, 2008:127-163.
⑥Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:18;49.
⑦Bella Adams, Asian American Literature, Edinburgh University Press. 2008:161-167.
①Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:18.
②Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:119-120.
③Ng, Mei. Eating Chinese Food Naked [M]. New York: Scribner, 1998:104.
①勒内·韦勒克,奥斯汀·沃伦著;刘象愚、邢培明等译:《文学理论》[M]。南京:江苏教育出版社,2005年,第6页。
①阎景娟:《文学经典论争在美国》[M]。社会科学文献出版社,2010年3月,第12页。
①刘心莲:《性别、种族、文化:美国华裔女性写作探析》[D]。武汉:华中师范大学,2004年4月,第84页。
①金莉:“绪论”,《20世纪美国女性小说研究》[M],金莉等著。北京大学出版社,2010年6月,第7页。
②韩华君:《任壁莲:走向多元文化的借鉴与融合》[A],《海外华人女作家评述》(美国卷·第一辑)[C]。北京:中国文联出版社,2006年,第259页。
①尹晓煌著,徐颖果主译:《美国华裔文学史》(Chinese American Literature since the 1850s)。天津:南开大学出版社,2006,第282页。
①单德兴:《创造自我/族裔:任壁莲访谈录》[A],《“开疆”与“辟土”——美国华裔文学与文化》[M]。天津:南开大学出版社,2006,第235页。
②韩华君:《任壁莲:走向多元文化的借鉴与融合》[A],《海外华人女作家评述》(美国卷·第一辑)[C]。北京:中国文联出版社,2006年,第243页。
③单德兴:《创造自我/族裔:任壁莲访谈录》[A],《“开疆”与“辟土”——美国华裔文学与文化》[M]。天津:南开大学出版社,2006,第250页。
④朱振武:《美国小说本土化的多元因素》,上海外语教育出版社,2006年,第236页。
①Helena Grice, Negotiating Identites:an introduction of Asian American women’s writing. Manchester University Press, 2002:35.
②刘心莲:《性别、种族、文化:美国华裔女性写作探析》[D]。武汉:华中师范大学,2004年4月,第53页。
①王岳川:《当代西方最新文论教程》[M]。上海:复旦大学出版社。2008年12月,(绪论)第5页。
①Brown,James W. ed. N. d.“Litt?rature et Nourriture.”Dathousie French Studies 11:4-7.
②Mote,Frederick W. 1977.“Yuan and Ming.”In K. C. Chang, ed., 195-257.
③如Wenying Xu, Eating Identities: Reading Food in Asian American Literature,2008; Keaton, Hetty Lanier, Feeding hungry ghosts: Food, family, and desire in stories by contemporary Chinese American women (Maxine Hong Kingston, Amy Tan, Lan Samantha Chang)2003; Martha Manning: The Common Thread: Mothers and Daughters: The Bond We Never Outgrow, 2003.
①黄秀玲著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》(Reading Asian American Literature: From Necessity to Extravagance)。北京:中国社会科学出版社,2007,,第43页。
②黄秀玲著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》。北京:中国社会科学出版社,2007,第66页。
③黄秀玲著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》。北京:中国社会科学出版社,2007,第82页。
④如布朗和马素(Brown and Mussell)选集《美国的族裔和区域饮食习惯:族群身份的表现》(Ethnic and Regional Foodways in the United States : The Performance of Group Identity)。
①黄秀玲著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》。北京:中国社会科学出版社,2007,第51页。
②Katherine Forestier .“Cold Sex Food for Thought ,”in South China Morning Post (14 March, 1998), p.8.转引自赵文书:X一代华美小说简论[J]。《当代外国文学》,2007年,第3期。
③黄秀玲著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》。北京:中国社会科学出版社,2007年,第59页。
①黄秀玲著,詹乔、蒲若茜、李亚萍译。《从必需到奢侈——解读亚裔美国文学》。北京:中国社会科学出版社,2007,第32页。
①Teiser, Stephen.“The Spirits of Chinese Religion.”Religions of China in Practice. Princeton:Princeton UP, 1996:26.
②Keaton, Hetty Lanier.Feeding hungry ghosts: Food, family, and desire in stories by contemporary Chinese American women (Maxine Hong Kingston, Amy Tan, Lan Samantha Chang)[D].The University of Tulsa. 2002:28.
①Skenzay, Paul and Tera Martin, eds. Conversations with Maxine Hong Kingston. Jackson: Up of Mississippi, 1998.
②Keaton, Hetty Lanier.Feeding hungry ghosts: Food, family, and desire in stories by contemporary Chinese American women (Maxine Hong Kingston, Amy Tan, Lan Samantha Chang)[D].The University of Tulsa. 2002:315.
①Keaton, Hetty Lanier.Feeding hungry ghosts: Food, family, and desire in stories by contemporary Chinese American women (Maxine Hong Kingston, Amy Tan, Lan Samantha Chang)[D].The University of Tulsa. 2002:245.
①Orzech, Charles.”Saving the Burning-Mouth Hungry Ghost”[A]. Donald S. Lopez, ed., Religions of China in practice[M]. Princeton University Press, 1996:279.
②Lim, Shirley Geok-lin. Approaches to Teaching Kingston’s the Woman Warrior. New York: The Modern Language Association of American, 1991:55.
①Maxine Hong Kingston,The Woman Warrior:Memoirs of Girlhood among Ghosts. New York : Vintage, 1976:183.
②Amy Tan,The Joy Luck Club, Penguin Books, 1989:17.
①石平萍:《任壁莲:“美国亚裔作家就是美国作家”》[A],吴冰、王立礼主编,《美国华裔作家研究》[C]。天津:南开大学出版社,2009,第341页。
①赵毅衡:三层茧内:华人小说的题材自限[J]。《暨南学报(哲学社会科学版)》,2005年,第2期,第45页-第50页。
①勒内·韦勒克,奥斯汀·沃伦著;刘象愚、邢培明等译:《文学理论》[M]。南京:江苏教育出版社,2005年,第3页。
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