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自20世纪50年代以来,“台湾留学生”以其较为特殊的双重身份和文化背景,在北美“新大陆”开辟了一个华文文学的书写空间。此后,关于中国人“放逐”、“流浪”的酸楚与文化疏离的痛苦,在东西方文化的夹缝和冲突中“自我”的丧失与寻找,便成了60年代以后美华作品的文学母题之一。从白先勇、於梨华、丛甦、水晶到张系国、李黎、吉铮、保真等,无不以其充满流亡、放逐意识,孤独、陌生的异域感和回忆故土的汉语书写,努力建构自己的精神家园和华文天地,反复演绎着美华文学60年代-70年代的共同主题。然而,自80年代后期始,美华文学中的“留学生”文学主题等发生了较为明显的变化。本文试图从语言书写、文学主题、文化意识、美学风格等侧面,勾勒这一主题发生从“放逐”到“融入”的变化轨迹。
Since the 1950s, “Taiwan students ” has opened up a writing space for Chinese literature in North America “New World ” with its special dual identity and cultural background. Since then, the sorrow and cultural alienation of the sourness and alienation of the Chinese by “exile” and “wandering” have resulted in the loss and search of “self” in the confluence and conflict between the East and the West. One of the literary motifs of Chinese works. From Bai Xianyong, Yu Peihua, Cong Su, Crystal to Zhang Guo-Guo, Li Li, Ji Zheng, and Fidelity all endeavoring to build a Chinese culture that is full of exile, exile consciousness, loneliness and strangeness, and recalls the native land. His own spiritual homeland and Chinese world, repeated interpretation of the United States and China Literature 60’s - 70’s common theme. However, since the late 1980s, there has been a marked change in the themes of “foreign students” in the literature of the United States and China. This article attempts to outline the changing trajectory of this theme from “exile” to “integration” from the aspect of language writing, literary theme, cultural awareness and aesthetic style.