华裔外国文学研究论文

虽然加拿大文学在我国学界所受到的关注很有限，但在少数学者的孜孜以求之下，仍然发掘并梳理出了加拿大文学的历史发展轨迹以及其中所体现的文化特色。傅俊等编著的《加拿大文学简史》一书，便是这样一本系统展示加拿大文学概况的普及读物。今天小编为大家推荐《华裔外国文学研究论文(精选3篇)》，欢迎大家借鉴与参考，希望对大家有所帮助！

华裔外国文学研究论文 篇1：

面孔

杨绛

2016年5月25日凌晨，中国著名女作家、文学翻译家和外国文学研究家、钱锺书夫人杨绛在北京协和医院病逝，享年105岁。

杨绛先生通晓英语、法语、西班牙语，由她翻译的《唐·吉诃德》被公认为最优秀的翻译佳作，到2014年已累计发行70多万册；她早年创作的剧本《称心如意》，被搬上舞台长达60多年，2014年还在公演；杨绛先生93岁出版散文随笔《我们仨》，风靡海内外，再版达一百多万册，9 6岁成出版哲理散文集《走到人生边上》，102岁出版250万字的《杨绛文集》八卷。

胡正明

当地时间2016年5月19日，美国总统奥巴马在白宫为获奖者颁发美国国家科学奖章。在加州伯克利大学任教授的胡正明院士获得技术与创新奖，他是半导体领域中的先驱领导者，曾获得年度美国华裔工程师荣誉称号。胡正明祖籍江苏省金坛市城西马干村，是美国加州大学伯克利分校杰出讲座教授、北京大学计算机科学技术系兼职教授、中国科学院微电子所荣誉教授、台湾交通大学（新竹）微电子器件荣誉教授、1991-1994年任清华大学（北京）微电子学研究所荣誉教授。

韩春雨

韩春雨，出生于19 74年1月11日，现任河北科技大学生物科学与工程学院生命科学系副教授，硕士研究生导师。

2016年5月2日，韩春雨作为通讯作者在国际顶级期刊《自然·生物技术》杂志上发表了一篇研究成果。他的团队发明了一种新的基因编辑技术—NgAgo-gDNA，向已有的最时兴技术CRISPR-Cas9发起了挑战。CRISPR-Cas9被认为是第三代基因编辑技术，近些年来一直是诺贝尔奖的热门。而韩春雨团队的发现，在一些人看来，可以堪称是“第四代”技术。

华裔外国文学研究论文 篇2：

打开认识加拿大文学和文化的大门

虽然加拿大文学在我国学界所受到的关注很有限，但在少数学者的孜孜以求之下，仍然发掘并梳理出了加拿大文学的历史发展轨迹以及其中所体现的文化特色。傅俊等编著的《加拿大文学简史》一书，便是这样一本系统展示加拿大文学概况的普及读物。

纵观全书，作者首先准确把握住了影响加拿大文学发展的两个关键因素——殖民主义历史和英法文化的二元存在，而后者更是从语言源头上直接决定了加拿大文学的特征。这从该书的结构安排便可见一斑：全书除了按照时代顺序划分成由法国殖民时期开始直至当代的六编，还进一步将每一编的内容细分为“法语文学”和“英语文学”两部分。

在第一编《殖民地时期的加拿大文学》里，作者通过前两节《卡蒂埃和尚普兰的探险日志》《耶稣会教士的传教报告》，阐明了加拿大文学是伴随着法国殖民者的脚步踏上北美大陆而产生的。从中也可读出，在西方文化语境下充满冒险精神的探险和“ 神圣”的传教活动，实质上都是殖民主义侵略扩张行径的组成部分，是建立在对原住民文化灾难性的摧毁之上的。英法文化在加拿大并存的现象，更是源于殖民主义者在瓜分世界过程中的博弈。总体而言，19世纪以前的加拿大文学，无论是英语作品还是法语作品，基本都倾向于继承各自母国的文化以及模仿其创作风格和表现手法，缺乏独树一帜的“加拿大风格”。

在这样的冲突、抗争、共存之下，直至20 世纪，加拿大文学才逐渐进入相对成熟的时期，文学的各种形式都有了較大的发展，不仅产生了一批重要的作家和优秀的作品，也开始形成自身的体系和风格，这些正是该书研究的重点。作者通过四编的内容集中研讨了加拿大文学从联邦成立至一战前，到两次世界大战期间，再到1945 年至百年国庆前后，直至当代的蜕变和发展，并梳理了在此过程中取得的重要成就。加拿大文学的气质更接近于传统欧洲的稳重从容。其中不乏如玛格丽特·阿特伍德这般被誉为“ 加拿大文学女王”的杰出作家的出现。她的代表作《盲刺客》所展现出的细腻、沉静、厚重， 又不乏幽默的风格，恰是对当时的加拿大文学的最好阐释。

最后，作者又以发展的眼光，站在世纪之交，对加拿大文学的历史进程作了回顾和解读，并对其前景进行了展望。从中可以看到，加拿大作为典型的移民国家，其文学越来越多地呈现出文化上的多样性。随着华人移民的不断增加，华裔作家及其作品在加拿大文学中的影响力也日益增长，相信在不远的将来，中国文学和中国文化会在这片土地上生根发芽，成长为又一片广袤的风景。

综上可知，《加拿大文学简史》一书以历史发展的视角为读者打开了一扇认识加拿大文学和文化的大门，丰富了我国的外国文学研究，既有普及意义，又具学术价值。

华裔外国文学研究论文 篇3：

Analysis of David Henry Hwang’s Deconstruction of Orientalism in M. Butterfly

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【Key words】David Henry Hwang； deconstruction； M. Butterfly； Orientalism

1. Introduction

David Henry Hwang is the most prominent Asian-American dramatist in contemporary American literature and produces a large number of influential works on Chinese immigrant and Chinese-American themes. His play M. Butterfly is one of the representatives.

This play tells a spy trail in France concerning a French diplomat and a Chinese Peking opera singer who were involved in a love affair. The French diplomat Rene Gallimard met Song Liling in a foreign embassy party in Beijing and was captivated by the girl whom he believed to be the incarnation of the exotic and submissive Madame Butterfly. Then he began a love affair with Song. But Song was actually responsible for obtaining diplomatic secrets from Gallimard. After their departure， Song was assigned to rejoin Gallimard in Paris for some political tasks. The two lived together for many years and Song passed some sensitive government documents to the Chinese embassy from Gallimard. Later， the couple was arrested by the French government. In the court trial， Gallimard learned for the first time that his lover was a spy and a man. After being put in prison， he committed suicide.

This play is the subversion to the opera Madame Butterfly which reflects the ideology of Orientalism. This paper would explore the dismantling of the stereotypes of the Oriental women and the subversion of the Orientalist conception of East-West power relationship in M. Butterfly， thus to analyze Hwang’s deconstruction of Orientalism.

2. Dismantling the entrenched stereotype of Oriental women

Oriental women have long been fashioned by the Western literature into a stereotype as being innocent， passive， submissive， and being silent under the double oppression of race and sex. The opera Madame Butterfly is widely regarded as an Orientalism text and presents the world a more concrete stereotypical image of Oriental women—Madam Butterfly. But such stereotype is completely dismantled by David Henry Hwang in M. Butterfly.

Like most Westerners， Rene Gallimard also has a strong fascination for the myth of Madame Butterfly， for it satisfies his fantasy of being a powerful man and exploiter who can abuse an Oriental woman cruelly. After seeing Song’s performance in Madame Butterfly for the first time， he is attracted and fantasizes Song to be his Butterfly and himself to be Pinkerton.

However， Gallimard’s Butterfly Song turns out to be greatly different from his fantasy of the demure and submissive Oriental women. In M. Butterfly，Song is no longer the voiceless and submissive Butterfly and gradually speaks for herself. In Paris， when Gallimard questions her why she dodges his embracing， Song interrupts him with a reminder that “Please. I’m talking” （Hwang Butterfly 59） to show that she allows no distraction while conveying her opinion. This conversation shows that Hwang shatters the Westerners’ fantasy about Oriental women by employing the strategy of transferring the discourse power from white males to Asian women.

Furthermore， in M. Butterfly David Hwang also adopts the strategy of reversing the role of the hero and heroine in Madame Butterfly to dismantle the myth of Madame Butterfly. The diplomat Gallimard “fantasizes that he is Pinkerton and his lover is Butterfly”. （Hwang Butterfly 95） But finally he realizes that it is he who has been Butterfly， for he has been duped by love， while Song who has exploited that love becomes the real Pinkerton.

Through fashioning a new image of Asian women and finally reversing the role， David Hwang successfully dismantles the Westerners’ stereotype of Oriental women.

3. Subverting Orientalist conception of East-West power relationship

To justify their conquering of Eastern people， the Western imperialists construct the East as the feminine image of Asian women and the West as the masculine image of Western men. As a woman， the East has to submit to her man， the West. However， in M. Butterfly， such power relationship is completely subverted.

Actually， the reversal of the role of hero and heroine in the original opera not only dismantle the Westerners’ fantasy about Oriental women， but also helps to subvert Orientalist conception of East-West power relationship. Like most Westerners， Rene Gallimard has the conception of Western Superiority and Eastern Inferiority. He has a strong fascination for Madame Butterfly， for such image also caters to his conception on the relationship between the East and the West. Judging from his relationship with his Oriental Butterfly Song， Gallimard assures Toulon that Chinese wouldn’t interfere in the Vietnam War because “the Orientals simply want to be associated with whoever shows the most strength and power” （Hwang Butterfly 45）. He also says that “If the Americans demonstrate the will to win， the Vietnamese will welcome them into a mutually beneficial union” （Hwang Butterfly 46）.

However， the reality turns out to be opposite to his conception on East-West power relationship. Instead of submission， the Eastern people fight against them， as is reflected in Song’s resistance to Gallimard and the action of China and Vietnam in the Vietnam War. In the end， Gallimard’s suicide also announces the power reversal of the Western people and the Eastern people.

Through the reversal of the hero and heroine， Hwang tactfully challenges Westerners’ assumption that the Orient is destined to submit to the West.

4. Conclusion

As a Chinese American， David Hwang has an emotional affinity to his ancestral homeland China. In addition， Orientalist stereotypes have been used to exclude Asian American from participating in American life. Inspired by the Civil Rights Movements， the Asian American started the Asian American Movement and many Asian writers try to construct their identity by deconstructing what is falsely constructed as Orientalist men and Orientalist women. The Chinese American group is the most powerful group. David Hwang’s M. Butterfly successfully subverted the image of Madam Butterfly， also known as the stereotype of “submissive Oriental woman”. Through the deconstruction， the minority groups in the US expressed their desire to be freed from the long-last stereotypes set by the dominant group.

References：

[1]Carignani，Carlo.Madame Butterfly：A Japanese tragedy.G.Ricordi&Co.1906.

[2]Cody，Gabrielle.“David Hwang’s M.Butterfly：Perpetuating the Misogynist Myth”.Theatre 20.Spring（1989）：24-27.

[3]Hwang，David Henry.M.Butterfly.New York：A Plume Book，1989.

[4]陈爱敏.‘东方主义’与美国华裔文学中的男性形象建构[J].外国文学研究，2004，（6）：79-84.

作者：Luo Qing