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《扶桑》中的东方、中国、女性形象反映了严歌苓作为移民作家在异质文化语境中进行叙事的种种复杂心理机制:特殊文化身份带来的使命感促使严歌苓在对西方男性的拯救情结进行颠覆的基础上力图展现一种包容、大巧若拙的民族形象,探讨身为弱势民族的自强自尊,然而“文化代言”与寻求认同的自觉意识使其难以摆脱东方主义潜移默化的影响。面对追求人性关怀、思考民族生存理念、寻求东方的文化优越、争取西方文化的认同、保证思想深度、兼顾故事的可读性等多重创作动机,作者的把握失当、顾此失彼最终使《扶桑》中东方、中国、女性的形象变得面目模糊、充满歧义。
The oriental, Chinese and feminine images in Fusang reflect the complex psychological mechanism that Yan Geling used to narrate immigrants as writers in heterogeneous cultural contexts: the sense of mission brought by special cultural identities urges Yan Geling to rescue the western masculinity On the basis of subversion, it tries to show a tolerant, cogent national image and probe into the self-improvement and self-esteem of being a vulnerable nation. However, the “cultural endorsement” and the conscious search for identity make it hard to get rid of the subtle influence of orientalism. Faced with the multiple creative motives of pursuing humanistic care, thinking about the concept of national existence, seeking the cultural superiority of the East, winning the recognition of Western culture, ensuring the depth of thought, taking into account the readability of the story, the author misconstrues and ultimately makes “Fusang” Oriental, Chinese, women’s image has become blurred and full of ambiguity.