对《女勇士》的对话解读
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摘要
汤亭亭是当代美国文学中最出色的华裔美国女作家之一。她的代表作品《女勇士》被誉为华裔美国文学史上的一块里程碑。这部小说由五个情节独立的故事组成,这五个故事彼此独立成章,但是又以一种微妙的方式紧密相连,不可分割。本篇论文将运用巴赫金的对话理论来全新地解读小说《女勇士》。整部小说的叙述结构犹如一张对话网络,围绕着母女关系,女性主义与父权制的关系,以及中美文化关系展开对话。在这张对话网中,各种不同的意识之间相互交流,此起彼伏。最后通过对话这种方式,美国华裔女性成功地寻求到属于自己的性别身份和文化身份。
本文由导论、正文和结论三部分组成,内容主要如下:
第一部分是导论。导论部分首先对美国华裔女作家汤亭亭及其作品《女勇士》做了简要的介绍。接着讨论了国内外批评家对《女勇士》这部作品的不同评价。最后则对本文的选题和应用理论做出了简要的阐述。
第二部分是正文,由四章组成:
第一章介绍了巴赫金的对话性理论。根据巴赫金的理论,对话已经不仅仅是传统意义上的文本中引号内的内容,更是各种平等意识之间的相互交流。根据巴赫金对思妥耶夫斯基小说的研究,他指出在文学范畴内有两种特定的对话形式:大型对话和微型对话。由于本文主要探讨的是小说《女勇士》中的大型对话,因此集中于对大型对话的分析。巴赫金认为大型对话主要包括作者与主人公,主人公与主人公,及不同意识之间的对话。
第二章讨论的是母女之间的对话,母女之间经历了从冲突到融合的对话过程。母女间的冲突归咎于她们完全不同的文化背景,小说中的母亲生于中国并深受中国传统文化的影响。小说中的女儿生于美国并接受了西方的文化教育。在母亲中国传统故事的束缚下,女儿保持沉默并失去了与母亲平等对话的地位。在女儿重塑母亲故事的过程中,女儿最终完成了与母亲平等地位的对话,并重拾了自己的声音和美国华裔女性的身份。
第三章讨论的是女性主义与父权制的对话。本章讲述了无名女人和月兰的故事,这两个女人在父权的压迫下失去了自己的声音和身份。通过母亲的故事,作者塑造了一个女勇士的形象来鼓励那些在男权压迫下的妇女追求自由和平等。通过女权主义与父权制的对话,汤亭亭解构了中国传统的父权主义思想,并颠覆了中国传统的父权文化。与此同时,汤亭亭作为一名美国华裔女勇士继承了女勇士的精神,向父权发起了挑战。
第四章讨论的是中美文化的对话。由于中美两国文化意识形态的不同,导致了《女勇士》中两种文化的冲突。汤亭亭将两种文化置于同一平台上进行平等的对话,她不仅揭示了两种文化的冲突,也暗示了两种文化的融合。最后,汤亭亭通过重塑蔡文姬的故事,表达了期待两国文化融合的美好心愿。
最后是小说的结论部分,总结了对话理论在《女勇士》这部作品中的重要意义。通过运用巴赫金的对话理论对《女勇士》进行全新的分析,总结了对话使华裔女性打破话语的沉默和父权的压制,成功地寻求到属于自己的性别身份和文化身份。
Maxine Hong Kingston is one of the most famous Chinese American female writers in contemporary. Her representative work, The Woman Warrior is regarded as a milestone in Chinese American literary history. This novel consists of five relatively distinctive stories and each of them has an independent plot. They are intertwined and linked together in a subtle way without division. This thesis will make a new analysis on The Woman Warrior by Bakhtin’s dialogue theory. The whole structure of this novel is just like a dialogue net which consists of the dialogue between the mother and the daughter, feminism and patriarchy, Chinese culture and American culture. In the dialogue net, all kinds of different consciousness communicate and contradict with each other. Eventually, through the dialogue, the Chinese American women finish the pursuit of their own gender and cultural identities.
This thesis consists of an introduction, the main body and a conclusion. Its main contents are as follows:
The first part is the introduction, which will make a brief introduction to Chinese American writer Maxine Hong Kingston and The Woman Warrior. Later it will discuss the different evaluations for The Woman Warrior from abroad and domestic critics. Then the thesis will render the reason for choosing the topic and theory to be applied.
The second part is the main body, which is made up of four chapters: Chapter One will introduce Bakhtin’s dialogue theory. According to Bakhtin, the dialogue no longer specifically points to the conventional dialogue within quotation marks; it is also extended to the existence of autonomous and equally signifying consciousness. According to Bakhtin’s researches on Dostoevsky’s novels, there are two specific forms for dialogicality to be applied in the literary text: the great dialogue and the micro-dialogue. This paper will mainly discuss the great dialogue in The Woman Warrior, therefore, here will focus on the great dialogue. According to Bakhtin, that great dialogue mainly includes the dialogue between the author and the hero, hero and hero, and between different consciousnesses.
Chapter Two is the dialogue between the mother and the daughter that make the dialogue from confliction to integration. The confliction of the mother and the daughter owes to their incomplete cultural background. The mother is born in China and has the deep-rooted Chinese traditional culture. The daughter is born in America and accepts the education from western culture. When the daughter is restricted by the mother’s Chinese traditional stories, she keeps silent and loses the equal position to have the dialogue with her mother. During the process of retelling the mother’s stories, the daughter eventually accomplishes the dialogue with the mother in an equal position. Meanwhile the daughter recovers her own voice and self-identity as a Chinese American woman.
Chapter Three is the dialogue between feminism and patriarchy. It will tell the stories of the no name woman and Moon Orchid that lose voice and self-identities under the oppression of patriarchy. According to mother’s story of Fa Mu Lan, the author creates the image of the woman warrior to encourage the women who keep silent under the patriarchal oppression to pursue their liberation and equality. Through the dialogue between feminism and patriarchy, Maxine Hong Kingston deconstructs Chinese traditional patriarchal thinking, and subverts the Chinese traditional culture of male-chauvinism. Meanwhile, as a Chinese American woman warrior, Maxine Hong Kingston inherits the spirit of the woman warrior to make challenge to the patriarchy.
Chapter Four is the dialogue between Chinese culture and American culture. Because of the difference between the Chinese and American ideological System, there are many cultural clashes in The Woman Warrior. Maxine Hong Kingston puts the two cultures on the platform to have an equal dialogue. During the dialogue, Kingston not only reveals the conflict and clashes between them, but also indicates the integration between the two cultures. At the end, through reconstructing the story of Ts’ai Yen, Kingston expresses her wish of looking forward to the integration of the two cultures.
The last part is the conclusion, which concludes the significance of the dialogue theory in The Woman Warrior. According to Bakhtin’s dialogue theory, the Chinese American women break their silence and the patriarchal oppression and finally complete the pursuit of their own gender and cultural identity through the dialogue in the novel.
本文由导论、正文和结论三部分组成,内容主要如下:
第一部分是导论。导论部分首先对美国华裔女作家汤亭亭及其作品《女勇士》做了简要的介绍。接着讨论了国内外批评家对《女勇士》这部作品的不同评价。最后则对本文的选题和应用理论做出了简要的阐述。
第二部分是正文,由四章组成:
第一章介绍了巴赫金的对话性理论。根据巴赫金的理论,对话已经不仅仅是传统意义上的文本中引号内的内容,更是各种平等意识之间的相互交流。根据巴赫金对思妥耶夫斯基小说的研究,他指出在文学范畴内有两种特定的对话形式:大型对话和微型对话。由于本文主要探讨的是小说《女勇士》中的大型对话,因此集中于对大型对话的分析。巴赫金认为大型对话主要包括作者与主人公,主人公与主人公,及不同意识之间的对话。
第二章讨论的是母女之间的对话,母女之间经历了从冲突到融合的对话过程。母女间的冲突归咎于她们完全不同的文化背景,小说中的母亲生于中国并深受中国传统文化的影响。小说中的女儿生于美国并接受了西方的文化教育。在母亲中国传统故事的束缚下,女儿保持沉默并失去了与母亲平等对话的地位。在女儿重塑母亲故事的过程中,女儿最终完成了与母亲平等地位的对话,并重拾了自己的声音和美国华裔女性的身份。
第三章讨论的是女性主义与父权制的对话。本章讲述了无名女人和月兰的故事,这两个女人在父权的压迫下失去了自己的声音和身份。通过母亲的故事,作者塑造了一个女勇士的形象来鼓励那些在男权压迫下的妇女追求自由和平等。通过女权主义与父权制的对话,汤亭亭解构了中国传统的父权主义思想,并颠覆了中国传统的父权文化。与此同时,汤亭亭作为一名美国华裔女勇士继承了女勇士的精神,向父权发起了挑战。
第四章讨论的是中美文化的对话。由于中美两国文化意识形态的不同,导致了《女勇士》中两种文化的冲突。汤亭亭将两种文化置于同一平台上进行平等的对话,她不仅揭示了两种文化的冲突,也暗示了两种文化的融合。最后,汤亭亭通过重塑蔡文姬的故事,表达了期待两国文化融合的美好心愿。
最后是小说的结论部分,总结了对话理论在《女勇士》这部作品中的重要意义。通过运用巴赫金的对话理论对《女勇士》进行全新的分析,总结了对话使华裔女性打破话语的沉默和父权的压制,成功地寻求到属于自己的性别身份和文化身份。
Maxine Hong Kingston is one of the most famous Chinese American female writers in contemporary. Her representative work, The Woman Warrior is regarded as a milestone in Chinese American literary history. This novel consists of five relatively distinctive stories and each of them has an independent plot. They are intertwined and linked together in a subtle way without division. This thesis will make a new analysis on The Woman Warrior by Bakhtin’s dialogue theory. The whole structure of this novel is just like a dialogue net which consists of the dialogue between the mother and the daughter, feminism and patriarchy, Chinese culture and American culture. In the dialogue net, all kinds of different consciousness communicate and contradict with each other. Eventually, through the dialogue, the Chinese American women finish the pursuit of their own gender and cultural identities.
This thesis consists of an introduction, the main body and a conclusion. Its main contents are as follows:
The first part is the introduction, which will make a brief introduction to Chinese American writer Maxine Hong Kingston and The Woman Warrior. Later it will discuss the different evaluations for The Woman Warrior from abroad and domestic critics. Then the thesis will render the reason for choosing the topic and theory to be applied.
The second part is the main body, which is made up of four chapters: Chapter One will introduce Bakhtin’s dialogue theory. According to Bakhtin, the dialogue no longer specifically points to the conventional dialogue within quotation marks; it is also extended to the existence of autonomous and equally signifying consciousness. According to Bakhtin’s researches on Dostoevsky’s novels, there are two specific forms for dialogicality to be applied in the literary text: the great dialogue and the micro-dialogue. This paper will mainly discuss the great dialogue in The Woman Warrior, therefore, here will focus on the great dialogue. According to Bakhtin, that great dialogue mainly includes the dialogue between the author and the hero, hero and hero, and between different consciousnesses.
Chapter Two is the dialogue between the mother and the daughter that make the dialogue from confliction to integration. The confliction of the mother and the daughter owes to their incomplete cultural background. The mother is born in China and has the deep-rooted Chinese traditional culture. The daughter is born in America and accepts the education from western culture. When the daughter is restricted by the mother’s Chinese traditional stories, she keeps silent and loses the equal position to have the dialogue with her mother. During the process of retelling the mother’s stories, the daughter eventually accomplishes the dialogue with the mother in an equal position. Meanwhile the daughter recovers her own voice and self-identity as a Chinese American woman.
Chapter Three is the dialogue between feminism and patriarchy. It will tell the stories of the no name woman and Moon Orchid that lose voice and self-identities under the oppression of patriarchy. According to mother’s story of Fa Mu Lan, the author creates the image of the woman warrior to encourage the women who keep silent under the patriarchal oppression to pursue their liberation and equality. Through the dialogue between feminism and patriarchy, Maxine Hong Kingston deconstructs Chinese traditional patriarchal thinking, and subverts the Chinese traditional culture of male-chauvinism. Meanwhile, as a Chinese American woman warrior, Maxine Hong Kingston inherits the spirit of the woman warrior to make challenge to the patriarchy.
Chapter Four is the dialogue between Chinese culture and American culture. Because of the difference between the Chinese and American ideological System, there are many cultural clashes in The Woman Warrior. Maxine Hong Kingston puts the two cultures on the platform to have an equal dialogue. During the dialogue, Kingston not only reveals the conflict and clashes between them, but also indicates the integration between the two cultures. At the end, through reconstructing the story of Ts’ai Yen, Kingston expresses her wish of looking forward to the integration of the two cultures.
The last part is the conclusion, which concludes the significance of the dialogue theory in The Woman Warrior. According to Bakhtin’s dialogue theory, the Chinese American women break their silence and the patriarchal oppression and finally complete the pursuit of their own gender and cultural identity through the dialogue in the novel.
引文
Bakhtin, Mkhail. Problems of Dostoevshy’s poetics. Trans Caryl Emerson. Ed. Minneapolis: University of Minnesota Press, 1984.
Bakhtin, Mkhail. The Dialogic Imagination, Four Essay. Trans Caryl Emerson. Michael Holiquist. Ed. Austin: University of Texas Press, 1988.
Bonetti, Kay.“An Interview with Maxine Hong Kingston.”Conversation with Maxine Hong Kingston. Ed, Paul Skenazy and Tera Martin. Jackson: University of Mississippi Press, 1998.
Dentith, Simon. Bakhtin Thought. London: Routledge Press,1995.
Holquist,Micheal. Dialogism: Bakhtin and his world. New York: Rouledge,2002.
Kingston, Maxine Hong. The Woman Warrior: Memories of a Girlhood Among Ghost. New York: Vintate International, 1989.
Ling, Amy. Between World: Women Writers of Chinese Ancestry. New York: Pergamon Press, 1990.
Mcpherson, William.“Ghosts from the Middle Kingdom.”Book World-The Washington Post, 1976.
Smith, Sidonie. A Poetics of Wommen’s Autobiography. Bloomington: Indiana University Press, 1987.
Tan, Amy. The Joy Luck Club. NewYork: Ballantine Books, 1989.
Zhang, Longhai. Identity and History: Reading Chinese American Literature. Xiamen: Xiamen University Press, 2004.
白春仁.巴赫金—求索对话思维[J].文学评论,1998,(05).
程爱民.美国华裔文学研究[M].北京:北京大学出版社, 2003.
陈太胜.巴赫金对话理论的人文精神[J].学术交流,2000 (01).
程正民.巴赫金的文化诗学[M].北京:北京师范大学出版社,2001,10
邓大好.中西方文化差异对比分析[J].四川三峡学院学报, 1999, (4).
高飞未.孔子与中国古代礼仪文化[J].陕西师范大学继续教育学报, 2004,(6).
蒋静萍.东西方礼仪教育之比较[J].湘潭大学学报哲学社会科学版, 2006,(9).
黎皓智. 20世纪文学思潮[M].北京:北京大学出版社,2006,7.
马瑜.论谭恩美《喜福会》的叙事艺术[J].外国语言文学研究, 2005,(3).
唐纳德.现代西方礼仪[M].上海:上海翻译出版社, 1986.
刑东.中美文化差异[M].北京:北京大学出版社, 1997.
张开众.开放人格—巴赫金[M].武汉:长江文艺出版, 2000.
周启超.对话与构建[M].合肥:安徽文艺出版社,2004,12.
周忠厚.文艺批评学教程[M].中国人民大学出版社, 2002.
张中载.二十世纪西方文论选读[M].外语教学与研究出版社, 2002.
Bakhtin, Mkhail. The Dialogic Imagination, Four Essay. Trans Caryl Emerson. Michael Holiquist. Ed. Austin: University of Texas Press, 1988.
Bonetti, Kay.“An Interview with Maxine Hong Kingston.”Conversation with Maxine Hong Kingston. Ed, Paul Skenazy and Tera Martin. Jackson: University of Mississippi Press, 1998.
Dentith, Simon. Bakhtin Thought. London: Routledge Press,1995.
Holquist,Micheal. Dialogism: Bakhtin and his world. New York: Rouledge,2002.
Kingston, Maxine Hong. The Woman Warrior: Memories of a Girlhood Among Ghost. New York: Vintate International, 1989.
Ling, Amy. Between World: Women Writers of Chinese Ancestry. New York: Pergamon Press, 1990.
Mcpherson, William.“Ghosts from the Middle Kingdom.”Book World-The Washington Post, 1976.
Smith, Sidonie. A Poetics of Wommen’s Autobiography. Bloomington: Indiana University Press, 1987.
Tan, Amy. The Joy Luck Club. NewYork: Ballantine Books, 1989.
Zhang, Longhai. Identity and History: Reading Chinese American Literature. Xiamen: Xiamen University Press, 2004.
白春仁.巴赫金—求索对话思维[J].文学评论,1998,(05).
程爱民.美国华裔文学研究[M].北京:北京大学出版社, 2003.
陈太胜.巴赫金对话理论的人文精神[J].学术交流,2000 (01).
程正民.巴赫金的文化诗学[M].北京:北京师范大学出版社,2001,10
邓大好.中西方文化差异对比分析[J].四川三峡学院学报, 1999, (4).
高飞未.孔子与中国古代礼仪文化[J].陕西师范大学继续教育学报, 2004,(6).
蒋静萍.东西方礼仪教育之比较[J].湘潭大学学报哲学社会科学版, 2006,(9).
黎皓智. 20世纪文学思潮[M].北京:北京大学出版社,2006,7.
马瑜.论谭恩美《喜福会》的叙事艺术[J].外国语言文学研究, 2005,(3).
唐纳德.现代西方礼仪[M].上海:上海翻译出版社, 1986.
刑东.中美文化差异[M].北京:北京大学出版社, 1997.
张开众.开放人格—巴赫金[M].武汉:长江文艺出版, 2000.
周启超.对话与构建[M].合肥:安徽文艺出版社,2004,12.
周忠厚.文艺批评学教程[M].中国人民大学出版社, 2002.
张中载.二十世纪西方文论选读[M].外语教学与研究出版社, 2002.