共存与交融—论《喜福会》的多元文化性
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摘要
华裔文学作为美国族裔文学的一个分支在近二、三十年间展示了勃勃生机和魅力,汤婷婷、谭恩美等一大批作家把华裔文学推向了高潮。谭恩美(1952-)是美国华裔文学繁荣时期极具代表性的作家之一,是美国备受欢迎的畅销小说家。本论文讨论的是其代表作《喜福会》,这部小说自1989年的出版,就被评选为《纽约时报》畅销书,并保持了连续九个月,得到了众人的好评,也引起了评论界对谭恩美这位华裔作家的关注。
作为第二代移民,身处中美文化的交叉点上,以切身的体会和独具特色的艺术手法,谭恩美在《喜福会》中真实地展现了华裔,特别是华裔女性的历史和生存现状。作品既表现了两代人、两种文化、两个民族的对立,又反映了大洋彼岸华人后代的美好企盼：跨越不同民族、文化和国家间的鸿沟,走出文化对峙的阴影,构建一个多元共存、和谐共处的美好世界。
国内外学者对该小说进行了多方面的研究,大多数学者们认为《喜福会》写的是母女两代人所代表的两种文化之间的冲突与融合的心路历程；不少评论家认为小说最后一章的中国之旅使美国女儿与中国母亲之间的关系得到了和解,美国女儿在一定程度上认同了自己的中国文化身份；还有一些学者从女权主义、精神分析以及殖民主义等方面解释产生小说母女冲突的原因；甚至有一部分学者认为该小说之所以强烈吸引美国读者在于它适时满足了美国人渴望了解异域文化和风俗人情的猎奇心理,小说对中国人与中国文化的描写符合美国人的阅读期待。不难看出,大多数评论家都把关注点集中到母女关系与指责这部小说对西方主流读者的迎合上,却鲜有评论注意文本中中美文化共存与交流的迹象,更是很少有人将多元文化与小说联系在一起。在搜集并大量阅读评论文章的基础之上,笔者试图证实《喜福会》中包含着多元文化思想的一些特征。《喜福会》之所以有如此大的震撼力很大程度上是因为它塑造了多元文化中形成的不同性格,以及人物性格在多元文化中的发展与变化,题材的选择与叙述策略也具有多元文化的冲击力,形成了文化交汇的景观。当今社会,全球化使国家与国家之间的文化交流越来越频繁,不同文化之间彼此都能意识到自己与其他文化的差异,并且通过对话达到沟通与交流。随着世界格局的变化西方中心论已经在文化研究领域里遭到了越来越多的抨击,而后殖民主义理论的出现也使得多元文化成为了文化研究领域里的主流话语。事实上,正是多元文化才使得美国文化更加多彩更有活力,而谭恩美在小说中也表现了自己的前瞻性。因此,对《喜福会》进行多元文化性的研究能为对小说文本的解读提供一个新的视角,并在当前全球化形势下具有一定的现实意义。本文共分五部分,除引言和结论外分为三章。
第一章,《喜福会》人物性格刻画体现的多元文化性。小说中的女儿既受到承载中国文化的母亲的影响,又从小接受了西方文化的熏陶。既具有中国传统的女性规范和女性品行,在事业上也与男人并驾齐驱,具有中西融会的复合属性。而小说对母亲的人物塑造从反面体现了小说的多元文化性。小说颠覆了西方文化里华人女子是无助的牺牲品和男人的奴隶的一成不变的形象,通过对母亲们建立喜福会的描写,展示了华人女性在逆境中的乐观、向上和不屈不挠的精神,小说还展现了母亲们在指导女儿生活上的独立见解。
第二章,《喜福会》题材选择上体现的多元文化特征。谭恩美在《喜福会》中描写的是从中国赴美的母亲和她们移居美国后生育的女儿的故事。作为美籍华人,她们亦中亦西。小说吸收中国丰富文化的滋养,引入了许多中国民间故事,并创造性地改写了中国风俗习惯。另外,对中国传统文化的引入展现了东方文化的风采,风水与五行理论的运用使《喜福会》更具独特的艺术魅力。小说中既有中国的典故、神话、传说,也有中国的风俗习惯,颠覆了纯西方文化一统天下的局面。
第三章,《喜福会》叙事策略上体现的多元文化性。小说的叙事策略是西方现代叙事技巧与中国传统文化元素的结合。《喜福会》向读者展示了中国文学传统的叙述形式——“讲古”,并在其中糅合了西方文学中的“多视角”,从而形成了自己特有的叙述技巧。小说结构上大团圆的结局也体现了小说受到的中国文化重视和谐统一思想的影响,更重要的是表现了一种正确对待文化的态度,继承自己的民族文化传统,吸收新文化。此外,小说的叙述语言也是既非标准英语又非标准汉语,而是包含两者的混合语言。通过这些叙述技巧,中西文化得到了很好的融合。
《喜福会》的成功意味着美国华裔文学经历了重大转折,美国华裔作家的成功更多的是凭借其作品的主旨和内容,他们作品中丰富多彩的主题与写作风格已经超出了肤色、性别、阶级的界限,是融会中西的、复合的、具有华裔文学特色的文学新范式,体现了多元文化性。那些已经在美国定居的华人及其后代由于其身份、家庭、社会、文化、政治等环境的特殊性,一方面对中国文化有极大的依恋,另一方面有表现出对西方文化的亲和与对东方文化的疏离。因而,在他们身上常表现为两种文化、两种观念的对立。然而,在全球化时期已经到来的今天,身处中美文化交叉点的华人后代,常抱有能融入美国主流文化,又能保持自己族裔文化传统的期盼——创造一个多元文化共存与交融的和谐大家庭。这种对于中美文化之间自我与他者关系的消解就是认为东西方文化之间并没有好坏或强弱之分,就是肯定每种文化都有其精华和糟粕,没有哪种文化具有终极的普遍意义。在对自我与他者的差异对比中,知已知彼,以一种开放的态度站在超越东西方文化各自局限的高度,把握不同文化的本质,在多元文化环境中融合人类社会生活的共性,才能让文化与社会、时代发展相吻合。
As a branch of American ethnic literature, Chinese American literature has become thriving in recent decades. Well-known writers, such as Maxine Hong Kingston and Amy Tan pushed Chinese American literature into a new era. Amy Tan (1952-), a best-selling popular novelist, is one of the representatives at the prosperous period of Chinese-American literature. This paper aims to discuss her masterpiece The Joy Luck Club, which gained enthusiastic reviews and remained on the New York Times best-seller list for many months. The novel also won both the National Book Award and the L.A. Times Book Award in 1989. It was a popular success, selling more than four million copies. Thanks to the critical success of the novel, Amy Tan became one of the most famous American writers of Asian ancestry. Sau-ling Cynthis Wong once concluded that "Tan has been chosen to perform the Asian-American spokeswoman/figurehead function once assigned to Maxine Hong Kingston."
As one of the second-generation immigrants, who were in the crossroads of Chinese culture and American culture, Amy Tan employs unique artistic approaches to reproduce the life of Chinese-Americans, especially Chinese-American women's history and their status quo, and portrays the contradiction and conflict of four Chinese mothers and their American-born daughters in faith, value, and the attitude to traditions and modernity. Amy Tan does not seem to simply identify with American culture, but she tries to understand how to come to terms with the two cultures. The novel not only demonstrates the conflicts between two generations, cultures and nations, but also reflects the aspirations of overseas Chinese decedents in constructing a beautiful world of harmonious coexistence of diverse cultures.
Domestic and overseas scholars have carried out studies of the novel from various aspects, and some of them believe that The Joy Luck Club focuses on the mind courses of two generations in dealing with cultural gaps, some critics believe that the all-well ending of the novel represents the reconciliation of mothers and daughters, and American daughters finally identify with their Chinese culture heritage, and still some scholars analyze the reasons of mother-daughter conflicts from the perspectives of feminism, psycho-analysis and colonialism. The majority of critics believe that the novel can attract western readers mainly because it satisfies the reading expectation of Americans to learn about the culture and customs of foreign lands, which demonstrates the tendency of Orientalism. It is easy to note that most of the critics pay too much attention to accusing Amy Tan of catering to the needs of western readers, but seldom of them notice the signs of cultural communications between China and America, and still less of them connect the novel with multicultural features. Based on a lot of reading and collecting various comments, this thesis aims to confirm that there are some multicultural features in The Joy Luck Club. The novel attracts such a big audience to a great extent owing to the fact that it focuses on different characters growing and developing in multiple cultural environments, and the subject choices as well as narrative strategy also contain the impact of multiple cultures, and thus forming the coexistence and communication of different cultures. As the world pattern changes, the Western Center Theory in cultural study field has been strongly attacked. Besides, the emergence of the colonialism theory also enables multicultural study to become the mainstream discourse in culture study field. American society itself carries forward multicultural traditions, therefore, after World War II ethnic culture gained certain recognition in academic community as well as in actual life, thus forming the situation of integrity between ethnic culture and the United States mainstream culture. As a result, Chinese-American works, either from the aspects of characterization, subject choice or narrative skills, bear dual characteristics. In such a context, it also should be noted that Chinese-American writers have a world vision, instead of confining their perspectives in an inherent model. Therefore, trying to interpret The Joy Luck Club from multicultural perspective can not only provide a new angle for interpreting the text, but also can convey certain practical significance in current situation of globalization. This thesis consists of five parts, and is divided into three chapters with the exception of introduction and conclusion.
Chapter One aims to interpret characterization of The Joy Luck Club from multicultural perspective. Daughters of the novel are not only influenced by their mothers, who are carrying forward Chinese culture, but also accept the western culture from an early age. They both act according to traditional Chinese female norms and behaviors and can keep pace with men in career, thus having complex property that combines Chinese and Western. In addition, the description of mothers reflects the multicultural features from another angle. The novel subverts the image of Chinese women in Western culture, which is the stereotype of helpless victim and men's slave, and shows their optimism in face of adversity, their indomitable spirit as well as the independent guidance for their daughters.
Chapter Two tries to interpret the subject choice of The Joy Luck Club from multicultural perspective. Amy Tan tells sixteen interwoven stories between Chinese immigrant mothers and their American-raised daughters using a language mixture of Chinese Pinyin and English. As Chinese-Americans, they are Chinese as well as American. The novel absorbs the nourishment of rich Chinese culture, introduces many Chinese folk tales, and adapts Chinese customs creatively. In addition, the introduction of traditional Chinese culture shows the charm of the oriental. What's more, the introduction of Geomancy and Five Elements Theory makes the novel gain more unique artistic attraction. Chinese allusions, myth, tales and customs the novel conveys also subvert the absolute dominant position of western culture.
Chapter Three is intended to interpret the narrative strategy of The Joy Luck Club from multicultural perspective. The narrative skill of the novel is the combination of western techniques and traditional Chinese cultural elements. Amy Tan introduces to foreign readers Chinese culture and literature and adopts traditional Chinese narrative skills with some modification in her writing. In The Joy Luck Club, Amy Tan introduces to western readers talk story, a traditional narrative form of Chinese literature. Combining with multiple points of view, Tan creates her unique narrative skill with the help of talk story, which is compatible to the theme of the novel. The all-well ending of the novel also reveals Chinese emphasis on harmony and unification. Besides, in the novel, the imperfect language used by the characters makes the description more vivid and real. In addition, Pidgin English is frequently used in the novel, neither Chinese nor English, but a combination of the two. Through these narrative techniques, Chinese and American cultures achieve reconciliation, which also shows Tan's pursuit of combining the primes of seemingly contradictory cultures.
The great success of The Joy Luck Club symbolizes that Chinese-American literature has gone through a significant turning point, and the success of the writers mainly depends on the fact that their works' characterization, choice of subject and their narrative skills have gone beyond the boundaries of color, gender and class. Due to factors of identity, family, society and culture etc., those Chinese-Americans and their descendants, who have settled in American, always have great attachment to Chinese cultures on one hand, and on the other hand, they display certain affiliation with western cultures and the alienation with the eastern culture. Therefore, the contradiction and conflicts can often be seen from their works. The Joy Luck Club is a new paradigm of literature with mixed characteristics of both Chinese and American. Through the characterization, the choice of subject and the narrative strategies, Amy Tan, in The Joy Luck Club, demonstrates that each culture has its own essence and dross, and there is no culture of ultimate universal significance. During the process of learning and borrowing primes from other cultures, the culture itself becomes enriched and ever-developing. But still, tolerance, communication and understanding are highly required. There are many common essences between different ethnics and cultures, and each culture needs to go beyond their limited boundary and integrate into the common essence of the whole social life of human. Only by doing so can culture be kept in pace with the development of society.
作为第二代移民,身处中美文化的交叉点上,以切身的体会和独具特色的艺术手法,谭恩美在《喜福会》中真实地展现了华裔,特别是华裔女性的历史和生存现状。作品既表现了两代人、两种文化、两个民族的对立,又反映了大洋彼岸华人后代的美好企盼：跨越不同民族、文化和国家间的鸿沟,走出文化对峙的阴影,构建一个多元共存、和谐共处的美好世界。
国内外学者对该小说进行了多方面的研究,大多数学者们认为《喜福会》写的是母女两代人所代表的两种文化之间的冲突与融合的心路历程；不少评论家认为小说最后一章的中国之旅使美国女儿与中国母亲之间的关系得到了和解,美国女儿在一定程度上认同了自己的中国文化身份；还有一些学者从女权主义、精神分析以及殖民主义等方面解释产生小说母女冲突的原因；甚至有一部分学者认为该小说之所以强烈吸引美国读者在于它适时满足了美国人渴望了解异域文化和风俗人情的猎奇心理,小说对中国人与中国文化的描写符合美国人的阅读期待。不难看出,大多数评论家都把关注点集中到母女关系与指责这部小说对西方主流读者的迎合上,却鲜有评论注意文本中中美文化共存与交流的迹象,更是很少有人将多元文化与小说联系在一起。在搜集并大量阅读评论文章的基础之上,笔者试图证实《喜福会》中包含着多元文化思想的一些特征。《喜福会》之所以有如此大的震撼力很大程度上是因为它塑造了多元文化中形成的不同性格,以及人物性格在多元文化中的发展与变化,题材的选择与叙述策略也具有多元文化的冲击力,形成了文化交汇的景观。当今社会,全球化使国家与国家之间的文化交流越来越频繁,不同文化之间彼此都能意识到自己与其他文化的差异,并且通过对话达到沟通与交流。随着世界格局的变化西方中心论已经在文化研究领域里遭到了越来越多的抨击,而后殖民主义理论的出现也使得多元文化成为了文化研究领域里的主流话语。事实上,正是多元文化才使得美国文化更加多彩更有活力,而谭恩美在小说中也表现了自己的前瞻性。因此,对《喜福会》进行多元文化性的研究能为对小说文本的解读提供一个新的视角,并在当前全球化形势下具有一定的现实意义。本文共分五部分,除引言和结论外分为三章。
第一章,《喜福会》人物性格刻画体现的多元文化性。小说中的女儿既受到承载中国文化的母亲的影响,又从小接受了西方文化的熏陶。既具有中国传统的女性规范和女性品行,在事业上也与男人并驾齐驱,具有中西融会的复合属性。而小说对母亲的人物塑造从反面体现了小说的多元文化性。小说颠覆了西方文化里华人女子是无助的牺牲品和男人的奴隶的一成不变的形象,通过对母亲们建立喜福会的描写,展示了华人女性在逆境中的乐观、向上和不屈不挠的精神,小说还展现了母亲们在指导女儿生活上的独立见解。
第二章,《喜福会》题材选择上体现的多元文化特征。谭恩美在《喜福会》中描写的是从中国赴美的母亲和她们移居美国后生育的女儿的故事。作为美籍华人,她们亦中亦西。小说吸收中国丰富文化的滋养,引入了许多中国民间故事,并创造性地改写了中国风俗习惯。另外,对中国传统文化的引入展现了东方文化的风采,风水与五行理论的运用使《喜福会》更具独特的艺术魅力。小说中既有中国的典故、神话、传说,也有中国的风俗习惯,颠覆了纯西方文化一统天下的局面。
第三章,《喜福会》叙事策略上体现的多元文化性。小说的叙事策略是西方现代叙事技巧与中国传统文化元素的结合。《喜福会》向读者展示了中国文学传统的叙述形式——“讲古”,并在其中糅合了西方文学中的“多视角”,从而形成了自己特有的叙述技巧。小说结构上大团圆的结局也体现了小说受到的中国文化重视和谐统一思想的影响,更重要的是表现了一种正确对待文化的态度,继承自己的民族文化传统,吸收新文化。此外,小说的叙述语言也是既非标准英语又非标准汉语,而是包含两者的混合语言。通过这些叙述技巧,中西文化得到了很好的融合。
《喜福会》的成功意味着美国华裔文学经历了重大转折,美国华裔作家的成功更多的是凭借其作品的主旨和内容,他们作品中丰富多彩的主题与写作风格已经超出了肤色、性别、阶级的界限,是融会中西的、复合的、具有华裔文学特色的文学新范式,体现了多元文化性。那些已经在美国定居的华人及其后代由于其身份、家庭、社会、文化、政治等环境的特殊性,一方面对中国文化有极大的依恋,另一方面有表现出对西方文化的亲和与对东方文化的疏离。因而,在他们身上常表现为两种文化、两种观念的对立。然而,在全球化时期已经到来的今天,身处中美文化交叉点的华人后代,常抱有能融入美国主流文化,又能保持自己族裔文化传统的期盼——创造一个多元文化共存与交融的和谐大家庭。这种对于中美文化之间自我与他者关系的消解就是认为东西方文化之间并没有好坏或强弱之分,就是肯定每种文化都有其精华和糟粕,没有哪种文化具有终极的普遍意义。在对自我与他者的差异对比中,知已知彼,以一种开放的态度站在超越东西方文化各自局限的高度,把握不同文化的本质,在多元文化环境中融合人类社会生活的共性,才能让文化与社会、时代发展相吻合。
As a branch of American ethnic literature, Chinese American literature has become thriving in recent decades. Well-known writers, such as Maxine Hong Kingston and Amy Tan pushed Chinese American literature into a new era. Amy Tan (1952-), a best-selling popular novelist, is one of the representatives at the prosperous period of Chinese-American literature. This paper aims to discuss her masterpiece The Joy Luck Club, which gained enthusiastic reviews and remained on the New York Times best-seller list for many months. The novel also won both the National Book Award and the L.A. Times Book Award in 1989. It was a popular success, selling more than four million copies. Thanks to the critical success of the novel, Amy Tan became one of the most famous American writers of Asian ancestry. Sau-ling Cynthis Wong once concluded that "Tan has been chosen to perform the Asian-American spokeswoman/figurehead function once assigned to Maxine Hong Kingston."
As one of the second-generation immigrants, who were in the crossroads of Chinese culture and American culture, Amy Tan employs unique artistic approaches to reproduce the life of Chinese-Americans, especially Chinese-American women's history and their status quo, and portrays the contradiction and conflict of four Chinese mothers and their American-born daughters in faith, value, and the attitude to traditions and modernity. Amy Tan does not seem to simply identify with American culture, but she tries to understand how to come to terms with the two cultures. The novel not only demonstrates the conflicts between two generations, cultures and nations, but also reflects the aspirations of overseas Chinese decedents in constructing a beautiful world of harmonious coexistence of diverse cultures.
Domestic and overseas scholars have carried out studies of the novel from various aspects, and some of them believe that The Joy Luck Club focuses on the mind courses of two generations in dealing with cultural gaps, some critics believe that the all-well ending of the novel represents the reconciliation of mothers and daughters, and American daughters finally identify with their Chinese culture heritage, and still some scholars analyze the reasons of mother-daughter conflicts from the perspectives of feminism, psycho-analysis and colonialism. The majority of critics believe that the novel can attract western readers mainly because it satisfies the reading expectation of Americans to learn about the culture and customs of foreign lands, which demonstrates the tendency of Orientalism. It is easy to note that most of the critics pay too much attention to accusing Amy Tan of catering to the needs of western readers, but seldom of them notice the signs of cultural communications between China and America, and still less of them connect the novel with multicultural features. Based on a lot of reading and collecting various comments, this thesis aims to confirm that there are some multicultural features in The Joy Luck Club. The novel attracts such a big audience to a great extent owing to the fact that it focuses on different characters growing and developing in multiple cultural environments, and the subject choices as well as narrative strategy also contain the impact of multiple cultures, and thus forming the coexistence and communication of different cultures. As the world pattern changes, the Western Center Theory in cultural study field has been strongly attacked. Besides, the emergence of the colonialism theory also enables multicultural study to become the mainstream discourse in culture study field. American society itself carries forward multicultural traditions, therefore, after World War II ethnic culture gained certain recognition in academic community as well as in actual life, thus forming the situation of integrity between ethnic culture and the United States mainstream culture. As a result, Chinese-American works, either from the aspects of characterization, subject choice or narrative skills, bear dual characteristics. In such a context, it also should be noted that Chinese-American writers have a world vision, instead of confining their perspectives in an inherent model. Therefore, trying to interpret The Joy Luck Club from multicultural perspective can not only provide a new angle for interpreting the text, but also can convey certain practical significance in current situation of globalization. This thesis consists of five parts, and is divided into three chapters with the exception of introduction and conclusion.
Chapter One aims to interpret characterization of The Joy Luck Club from multicultural perspective. Daughters of the novel are not only influenced by their mothers, who are carrying forward Chinese culture, but also accept the western culture from an early age. They both act according to traditional Chinese female norms and behaviors and can keep pace with men in career, thus having complex property that combines Chinese and Western. In addition, the description of mothers reflects the multicultural features from another angle. The novel subverts the image of Chinese women in Western culture, which is the stereotype of helpless victim and men's slave, and shows their optimism in face of adversity, their indomitable spirit as well as the independent guidance for their daughters.
Chapter Two tries to interpret the subject choice of The Joy Luck Club from multicultural perspective. Amy Tan tells sixteen interwoven stories between Chinese immigrant mothers and their American-raised daughters using a language mixture of Chinese Pinyin and English. As Chinese-Americans, they are Chinese as well as American. The novel absorbs the nourishment of rich Chinese culture, introduces many Chinese folk tales, and adapts Chinese customs creatively. In addition, the introduction of traditional Chinese culture shows the charm of the oriental. What's more, the introduction of Geomancy and Five Elements Theory makes the novel gain more unique artistic attraction. Chinese allusions, myth, tales and customs the novel conveys also subvert the absolute dominant position of western culture.
Chapter Three is intended to interpret the narrative strategy of The Joy Luck Club from multicultural perspective. The narrative skill of the novel is the combination of western techniques and traditional Chinese cultural elements. Amy Tan introduces to foreign readers Chinese culture and literature and adopts traditional Chinese narrative skills with some modification in her writing. In The Joy Luck Club, Amy Tan introduces to western readers talk story, a traditional narrative form of Chinese literature. Combining with multiple points of view, Tan creates her unique narrative skill with the help of talk story, which is compatible to the theme of the novel. The all-well ending of the novel also reveals Chinese emphasis on harmony and unification. Besides, in the novel, the imperfect language used by the characters makes the description more vivid and real. In addition, Pidgin English is frequently used in the novel, neither Chinese nor English, but a combination of the two. Through these narrative techniques, Chinese and American cultures achieve reconciliation, which also shows Tan's pursuit of combining the primes of seemingly contradictory cultures.
The great success of The Joy Luck Club symbolizes that Chinese-American literature has gone through a significant turning point, and the success of the writers mainly depends on the fact that their works' characterization, choice of subject and their narrative skills have gone beyond the boundaries of color, gender and class. Due to factors of identity, family, society and culture etc., those Chinese-Americans and their descendants, who have settled in American, always have great attachment to Chinese cultures on one hand, and on the other hand, they display certain affiliation with western cultures and the alienation with the eastern culture. Therefore, the contradiction and conflicts can often be seen from their works. The Joy Luck Club is a new paradigm of literature with mixed characteristics of both Chinese and American. Through the characterization, the choice of subject and the narrative strategies, Amy Tan, in The Joy Luck Club, demonstrates that each culture has its own essence and dross, and there is no culture of ultimate universal significance. During the process of learning and borrowing primes from other cultures, the culture itself becomes enriched and ever-developing. But still, tolerance, communication and understanding are highly required. There are many common essences between different ethnics and cultures, and each culture needs to go beyond their limited boundary and integrate into the common essence of the whole social life of human. Only by doing so can culture be kept in pace with the development of society.
引文
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Buenker, John D. Lorman A. Patner, ed. Multiculturalism In The United States:A Comparative Guide to Acculturation and Ethnicity. Westport:Greenwood Press, 1992.
Burayidi, Michael A. Multiculturalism In A Cross-National Perspective New York: University Press of America Inc.,1997.
Chan, Mimi. Images of Chinese Women in Anglo-American Literature. Hongkong: Joint Publishing Co., Ltd,1989.
Chen, Jack. The Chinese of America from Beginnings to the Present. San Francisco: Harper & Row.1982.
Chin, Frank. Aiiieeee! An Anthology of Asian Writers. New York Mentor,1991.
Fredric, M. Kaplan and Julian, M. Sobin [Editors]; introduction by John S. Service. "Encyclopedia of China:The Essential Reference to China, Its History and Culture". Perkins, Dorothy. New York:Eurasia Press,1982.
Ganahl, Jane. "Amy Tan gets her voice back." Book, February 2001.
Gu Hongming. The Spirit of the Chinese People. Beijing:Foreign Language Teaching and Research Press,1998.
Gudykunst, W. B. Intercultural Communication Theory:Current Perspectives. Beverly Hills:Sage 1983.
Haddock, Brucer; Peter Sutch, ed. Multiculturalism, Identity and Rights. London: Routledge,2003.
Hartog, Francis. The Mirror of Herodotus:The Representation of the Other in the Writing of History. Trans. Janet Lloyd. Berkeley:University of California Press, 1988.
Heilbroner, Robert L. "Don't Let Stereotype Warp Your Judgments" [A]. Rosa, Alfred (ed.). "Models for Writers". New York:St. Martin's Press,1986.
Holloway, John. Narrative and Structure:exploratory essays. London:Cambridge University Press,1979.
Hsu, Francis L. K. The Overseas Chinese:Ethnicity in National Text Lanham, Md.: University Press of America,1998.
Huntley, E.D. Amy Tan:A Critical Companion. Westport, CT:Greenwood,1998.
Iyer, Pico. "The Second Triumph of Amy Tan." Time,3, June 1991.
Jameson, Fredric. Postmodernism or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Kincheloe, Joe L.; Shirley R. Steinberg ed. Changing Multiculturalism. Philadelphia: Open University Press,1997.
Kivisto, Peter. Multiculturalism In A Global Society. Oxford:Blackwell Publishers Ltd., 2002.
Lam, Kam Chuen. Feng Shui Handbook. New York:Henry Holt,1996.
Larry A. Samovar, Richard E. Porter, Lisa A Stefani. Communication Between Cultures. Foreign Language Teaching and Research Press.2000.
Ling, Amy. Between Worlds:Women Writers of Chinese Ancestry. New York: Pergamon Press,1990.
Lowe, Lisa. "Heterogeneity, Hybridity, Multiplicity:Marking Asian American Differences." Diaspora, V.1, No.1.1991.
McAlister, Melanie. "(Mis) Reading The Joy Luck". Asian America:Journal of Culture and the Arts 1 (1992):102-115.
Melendy, H. Brett. The Oriental Americans. New York:Twayne Publisher, Inc.,1972.
Messud, Claire. "Ghost Story". New York Times Book Review, October 2,1995, p.11.
Nelson, Emmunuel. S. Asian American Novelists. Westport. Conn:Greenwood Press, 2000.
Said, Edward. Orientalism. New York:Pantheon,1978.1-52.
Saliba, Wendey J. "Food and Ethnic Identity." The Asian Pacific American Heritage: A Companion to Literature and Arts. Ed. George J. Leonard. New York:Garland Publishing, Inc.,1999.
Scarlet, Cheng. "Your Mother is in Your Bones". Belles letters, Vol.4, No.4, Summer, 1989, p.12.
Segers, T. Rein. "Cultural Identity:New Perspective for Literary Study." Transmission of Culture and Literary Images. Ed. Yue Daiyun, Zhanghui. Beijing:Peking University Press,1999.
Shear, Walter. "Generational Difference and the Diaspora in The Joy Luck Club". Critique 34 (1993):193-99.
Sledge, Linda Ching. A Map of Paradise. New York:Bantam Books,1997.
Souris, Stephen.'Only two kinds of daughters':Inster-Monologue Dialogicity.'The Joy Luck Club'in MELUS, Vol.19, No.2, Summer,1994, p.99-124.
Tan, Amy. The Joy Luck Club. New York:Ivy Books,1989.
Tan, Amy and Seaman, Donna. The Booklists Interview:Amy Tan. Booklist, October 1, 1990,p257-269.
Tan, Amy interview www.achievement.org/autodoc/page/tanoint-1
Twitchell, Hall. Edward. Understanding Cultural Differences. Yarmouth:Intercultural Press,1990.
Vincent B. Leitch. American Literary Criticism:From 30s to 80s. New York: Columbia University Press,1988.
Wong, Sau-ling Cynthia. "'Sugar Sisterhood':Situating the Amy Tan Phenomenon." The Ethnic Canon:Histories, Institutions, and Interventions. Ed. David Palumbo-Liu. Minneapolis:U of Minnesota P,1995.174-210.
Wong, Sau-ling Cynthia; Stephen H. Sumida ed. A Resource Guide to Asian American Literature. New York:The Moden Language of Association of America,2001.
Xu, Ben. "Memory and the Ethnic Self:Reading Amy Tan's The Joy Luck Club". Boston:Northeastern University Press,1994.
Young, Linda. Crosstalk and Culture in Sino-American Communication. New York: Cambridge University Press,1994.
Yong, Mary. Mules and Dragons:Popular Culture Images in the Selected Writings of African-American and Chinese Women Writers. London:Greenwood Press, 1993.
Yuan, Yuan. "The Semiotics of China Narratives in the Con/Text of Kingston and Tan" Critique, Sping 99, Vol.40.
陈爱敏：《美国华裔文学的文化观照》,《文史哲》,2003年(4),115-120。
陈俊森：《外国文化与跨文化交际》,华中理工大学出版社,1999年。
程爱民：《论谭恩美小说中母亲形象及母女关系的文化内涵》,《南京师范大学学报》,2001(4)。
程爱民、张瑞华：《中美文化的冲突和融合：对<喜福会>的文化解读》,《国外文学》,2001年(3)。
程爱民主编：《美国华裔文学研究》,北京：北京大学出版社,2003年。
辜正坤(译)：老子《道德经》,北京：北京大学出版社,2005年.
郭继德：《美国文学研究》(第三辑),济南：山东大学出版社,2006年。
胡亚敏：《当今移民的新角色》,《外国文学》2001年,(3)：74。
胡勇,《文化的乡愁——美国华裔文学的文化认同》中国戏剧出版社,2003年。
贾玉新：《跨文化交际学》外语教学与研究出版社,2000年。
刘熠：《<喜福会>：男性中心主义的颠覆与结构》,《东南大学学报》,2005年第7卷(4),91-94。
罗钢：《叙事学导论》,昆明,云南人民出版社,1994年。
申丹：《叙事学与小说文体学》,北京,北京大学出版社,1998年。
谭恩美：《喜福会》,程乃珊、严映薇译,杭州：浙江文艺出版社,1999年。
王恩铭：《当代美国社会与文化》,上海外语教育出版社,1995年。
王家湘：《浅谈美国华裔作家作品之主题》,《外国文学》,1993(1)。
王宁：《文化经典的构成和重铸》,《当今国外文学》,2002年(3)。
王岳川：《后殖民主义与新历史主义文论》,济南：山东教育出版社,1999年,4：1-233。
吴冰：《从异国情调、真实反映到批判、创造》,程爱民主编：《美国华裔文学研究》,北京：北京大学出版社,2003年,73-85。
袁霞：《从<喜福会>中的美国梦主题看东西文化冲突》,北京：《外国文化研究》,2003年,(3)82-85。
张子清：《与亚裔美国文学共生共荣的华裔美国文学》,外国文学评论,2001年,(1)：93-103.
赵文书：《当代华裔美国文学研究》,南京：南京大学出版社,2004年。
朱刚：《二十世纪西方文艺批评理论》,上海：上海外语教育出版社,2001年,10：201-228。
Buenker, John D. Lorman A. Patner, ed. Multiculturalism In The United States:A Comparative Guide to Acculturation and Ethnicity. Westport:Greenwood Press, 1992.
Burayidi, Michael A. Multiculturalism In A Cross-National Perspective New York: University Press of America Inc.,1997.
Chan, Mimi. Images of Chinese Women in Anglo-American Literature. Hongkong: Joint Publishing Co., Ltd,1989.
Chen, Jack. The Chinese of America from Beginnings to the Present. San Francisco: Harper & Row.1982.
Chin, Frank. Aiiieeee! An Anthology of Asian Writers. New York Mentor,1991.
Fredric, M. Kaplan and Julian, M. Sobin [Editors]; introduction by John S. Service. "Encyclopedia of China:The Essential Reference to China, Its History and Culture". Perkins, Dorothy. New York:Eurasia Press,1982.
Ganahl, Jane. "Amy Tan gets her voice back." Book, February 2001.
Gu Hongming. The Spirit of the Chinese People. Beijing:Foreign Language Teaching and Research Press,1998.
Gudykunst, W. B. Intercultural Communication Theory:Current Perspectives. Beverly Hills:Sage 1983.
Haddock, Brucer; Peter Sutch, ed. Multiculturalism, Identity and Rights. London: Routledge,2003.
Hartog, Francis. The Mirror of Herodotus:The Representation of the Other in the Writing of History. Trans. Janet Lloyd. Berkeley:University of California Press, 1988.
Heilbroner, Robert L. "Don't Let Stereotype Warp Your Judgments" [A]. Rosa, Alfred (ed.). "Models for Writers". New York:St. Martin's Press,1986.
Holloway, John. Narrative and Structure:exploratory essays. London:Cambridge University Press,1979.
Hsu, Francis L. K. The Overseas Chinese:Ethnicity in National Text Lanham, Md.: University Press of America,1998.
Huntley, E.D. Amy Tan:A Critical Companion. Westport, CT:Greenwood,1998.
Iyer, Pico. "The Second Triumph of Amy Tan." Time,3, June 1991.
Jameson, Fredric. Postmodernism or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Kincheloe, Joe L.; Shirley R. Steinberg ed. Changing Multiculturalism. Philadelphia: Open University Press,1997.
Kivisto, Peter. Multiculturalism In A Global Society. Oxford:Blackwell Publishers Ltd., 2002.
Lam, Kam Chuen. Feng Shui Handbook. New York:Henry Holt,1996.
Larry A. Samovar, Richard E. Porter, Lisa A Stefani. Communication Between Cultures. Foreign Language Teaching and Research Press.2000.
Ling, Amy. Between Worlds:Women Writers of Chinese Ancestry. New York: Pergamon Press,1990.
Lowe, Lisa. "Heterogeneity, Hybridity, Multiplicity:Marking Asian American Differences." Diaspora, V.1, No.1.1991.
McAlister, Melanie. "(Mis) Reading The Joy Luck". Asian America:Journal of Culture and the Arts 1 (1992):102-115.
Melendy, H. Brett. The Oriental Americans. New York:Twayne Publisher, Inc.,1972.
Messud, Claire. "Ghost Story". New York Times Book Review, October 2,1995, p.11.
Nelson, Emmunuel. S. Asian American Novelists. Westport. Conn:Greenwood Press, 2000.
Said, Edward. Orientalism. New York:Pantheon,1978.1-52.
Saliba, Wendey J. "Food and Ethnic Identity." The Asian Pacific American Heritage: A Companion to Literature and Arts. Ed. George J. Leonard. New York:Garland Publishing, Inc.,1999.
Scarlet, Cheng. "Your Mother is in Your Bones". Belles letters, Vol.4, No.4, Summer, 1989, p.12.
Segers, T. Rein. "Cultural Identity:New Perspective for Literary Study." Transmission of Culture and Literary Images. Ed. Yue Daiyun, Zhanghui. Beijing:Peking University Press,1999.
Shear, Walter. "Generational Difference and the Diaspora in The Joy Luck Club". Critique 34 (1993):193-99.
Sledge, Linda Ching. A Map of Paradise. New York:Bantam Books,1997.
Souris, Stephen.'Only two kinds of daughters':Inster-Monologue Dialogicity.'The Joy Luck Club'in MELUS, Vol.19, No.2, Summer,1994, p.99-124.
Tan, Amy. The Joy Luck Club. New York:Ivy Books,1989.
Tan, Amy and Seaman, Donna. The Booklists Interview:Amy Tan. Booklist, October 1, 1990,p257-269.
Tan, Amy interview www.achievement.org/autodoc/page/tanoint-1
Twitchell, Hall. Edward. Understanding Cultural Differences. Yarmouth:Intercultural Press,1990.
Vincent B. Leitch. American Literary Criticism:From 30s to 80s. New York: Columbia University Press,1988.
Wong, Sau-ling Cynthia. "'Sugar Sisterhood':Situating the Amy Tan Phenomenon." The Ethnic Canon:Histories, Institutions, and Interventions. Ed. David Palumbo-Liu. Minneapolis:U of Minnesota P,1995.174-210.
Wong, Sau-ling Cynthia; Stephen H. Sumida ed. A Resource Guide to Asian American Literature. New York:The Moden Language of Association of America,2001.
Xu, Ben. "Memory and the Ethnic Self:Reading Amy Tan's The Joy Luck Club". Boston:Northeastern University Press,1994.
Young, Linda. Crosstalk and Culture in Sino-American Communication. New York: Cambridge University Press,1994.
Yong, Mary. Mules and Dragons:Popular Culture Images in the Selected Writings of African-American and Chinese Women Writers. London:Greenwood Press, 1993.
Yuan, Yuan. "The Semiotics of China Narratives in the Con/Text of Kingston and Tan" Critique, Sping 99, Vol.40.
陈爱敏：《美国华裔文学的文化观照》,《文史哲》,2003年(4),115-120。
陈俊森：《外国文化与跨文化交际》,华中理工大学出版社,1999年。
程爱民：《论谭恩美小说中母亲形象及母女关系的文化内涵》,《南京师范大学学报》,2001(4)。
程爱民、张瑞华：《中美文化的冲突和融合：对<喜福会>的文化解读》,《国外文学》,2001年(3)。
程爱民主编：《美国华裔文学研究》,北京：北京大学出版社,2003年。
辜正坤(译)：老子《道德经》,北京：北京大学出版社,2005年.
郭继德：《美国文学研究》(第三辑),济南：山东大学出版社,2006年。
胡亚敏：《当今移民的新角色》,《外国文学》2001年,(3)：74。
胡勇,《文化的乡愁——美国华裔文学的文化认同》中国戏剧出版社,2003年。
贾玉新：《跨文化交际学》外语教学与研究出版社,2000年。
刘熠：《<喜福会>：男性中心主义的颠覆与结构》,《东南大学学报》,2005年第7卷(4),91-94。
罗钢：《叙事学导论》,昆明,云南人民出版社,1994年。
申丹：《叙事学与小说文体学》,北京,北京大学出版社,1998年。
谭恩美：《喜福会》,程乃珊、严映薇译,杭州：浙江文艺出版社,1999年。
王恩铭：《当代美国社会与文化》,上海外语教育出版社,1995年。
王家湘：《浅谈美国华裔作家作品之主题》,《外国文学》,1993(1)。
王宁：《文化经典的构成和重铸》,《当今国外文学》,2002年(3)。
王岳川：《后殖民主义与新历史主义文论》,济南：山东教育出版社,1999年,4：1-233。
吴冰：《从异国情调、真实反映到批判、创造》,程爱民主编：《美国华裔文学研究》,北京：北京大学出版社,2003年,73-85。
袁霞：《从<喜福会>中的美国梦主题看东西文化冲突》,北京：《外国文化研究》,2003年,(3)82-85。
张子清：《与亚裔美国文学共生共荣的华裔美国文学》,外国文学评论,2001年,(1)：93-103.
赵文书：《当代华裔美国文学研究》,南京：南京大学出版社,2004年。
朱刚：《二十世纪西方文艺批评理论》,上海：上海外语教育出版社,2001年,10：201-228。