文学评论界承认,用于界定往往是跨文化的当代文学状态的术语遇到了某种困难。在魁北克,自20世纪80年代以来,为了描述这一现象,评论界运用了一整套探索场域的新概念。面对这么丰富和混乱的术语,必须做出选择。在十多年之后,这样的选择在欧洲找到了其捍卫者和追随者:移民写作。在当今,相关的争论依然不断,人们始终在寻找一个合适的术语,以正确阐释“外来的”“跨文化”作家的大量涌现,他们的话语倾向于反映文化碰撞的各种问题,以及(或者)是从移民的体验中吸取着营养。作者分析了相关术语的局限和失败,并试图阐明移民文学和移民题材文学这两个术语相交叉的复杂语义场。同时阐释了二者的趋同与趋异,并主要从实践层面论证我们为什么依然选择“移民文学”来指称所谓“后移民”作家之前的作者。 Literary critics acknowledge that some of the terminology used to define the state of the contemporary literary culture, often transcultural, has encountered some difficulties. In Quebec, to describe this phenomenon since the 1980s critics have applied a whole new set of concepts to explore the field. In the face of such a rich and messy terminology, choices must be made. After more than a decade, such choices have found its defenders and followers in Europe: immigrant writing. In today’s world, relevant debates are still ongoing. People are always looking for an appropriate terminology to correctly explain the massive emergence of “exotic” “intercultural ” writers who tend to reflect various cultural collisions And (or) absorb nutrition from the experiences of immigrants. The author analyzes the limitations and failures of the related terms and tries to clarify the complex semantic field where the two terms of immigrant literature and immigrant thematic literature intersect. At the same time, it expounds the convergence and divergence between the two and mainly demonstrates from the practical point of view why we still choose “immigrant literature” to refer to the author before the so-called “post-immigrant” writer.