摘要
依据当代空间批评理论,谭恩美笔下的"中国"是建立在个体空间记忆和体验之上的、关于祖籍国的想象,是作家通过空间设置与叙述寻求自身文化认同的重要体现。在小说《喜福会》与《接骨师之女》中,城市、乡村和传统中式家庭组成了谭恩美眼中的中国,而她对其中的地理景观和人文环境的选择性描述以及对同一空间场景的不同再现均与其对华裔历史文化和记忆的挖掘与反思密切相关。因此,谭恩美创作的中国空间不仅揭示了华裔文化认同的复杂性和流动性,更折射出渐趋成熟的华裔对自身族裔性的深刻反省。
According to the Space Criticism, the image of China in Amy Tan＇s novels, a personal version of Chinese immigrants＇ original country based on some indirect spatial memory and experience, is an important manifestation of the literary space and Chinese-Americans＇ pursuit of cultural identity. In The Joy Luck Club and The Bonesetter＇s Daughter, the selective descriptions of both geographic and human landscapes in Chinese cities, countries and traditional families, which has constituted the China in author＇s eyes, and the different reappearances of those spatial scenes, are closely related to Amy Tan＇s reflection on Chinese historical culture and collective memory. And the changes in the spatial image of China in these two novels reveal Chinese-American＇s gradual mature and independent mind as well as the complexity and fluidity of their cultural identity.
出处
《广东外语外贸大学学报》
2017年第2期91-96,共6页
Journal of Guangdong University of Foreign Studies
基金
安徽省高校人文社科重点项目"华裔主体性游移及身份认同的流散特质--谭恩美小说的中国书写研究"(SK2015A348)
关键词
谭恩美
空间书写
华裔
文化认同
Amy Tan
Spatial Writing
Chinese-American
cultural identity
