美國(guó)早期戲劇與電影中的中國(guó)人形象

前言

在跨文化交流過(guò)程中，任何一種文化主體對(duì)他者的反應(yīng)與接受都折射出兩者之間文化與意識(shí)形態(tài)空間上的差異。以文學(xué)藝術(shù)作品中的異國(guó)形象為研究對(duì)象，探討的是異質(zhì)文化間所存在的距離、造成對(duì)異質(zhì)文化的多種反應(yīng)與接受的決定因素以及期間調(diào)和與共存的可能性。本書(shū)從美國(guó)早期戲劇與電影中對(duì)華人形象的再現(xiàn)人手，從文學(xué)的角度分析比較中美文化交流與互動(dòng)在不同歷史階段特定社會(huì)條件下、在不同力量爭(zhēng)斗與制衡中呈現(xiàn)出的文化現(xiàn)象，初步探討跨文化交往中的沖突與交融及其蘊(yùn)含的文化共性。從19世紀(jì)中葉鴉片戰(zhàn)爭(zhēng)到20世紀(jì)中葉二戰(zhàn)結(jié)束的約一百年中，中美兩國(guó)乃至整個(gè)世界都經(jīng)歷了前所未有的變革，美國(guó)人對(duì)中國(guó)的態(tài)度也呈現(xiàn)出包含仰慕、歧視（甚至仇視）、恐懼、尊敬、憐憫和同情等種種情緒的劇烈變化過(guò)程。各種態(tài)度更迭出現(xiàn)或是同時(shí)存在，相互排斥卻又相互影響。與二戰(zhàn)后冷戰(zhàn)期間美國(guó)與中國(guó)關(guān)系轉(zhuǎn)為敵視與隔膜、而后重又開(kāi)啟新一輪交流循環(huán)相對(duì)照，上述時(shí)期美國(guó)對(duì)中國(guó)文化和中國(guó)人的態(tài)度變化形成了文化交往發(fā)展循環(huán)過(guò)程中較為完整而典型的一環(huán)。本書(shū)的重點(diǎn)不在于對(duì)這近百年的中美文化交往做一個(gè)歷史性描述，而是從中截取若干具有典型意義的文化交往特征，討論其產(chǎn)生和變化與特定歷史時(shí)期和社會(huì)環(huán)境的關(guān)系。通過(guò)比較不同時(shí)期美國(guó)影、劇文本中華人角色塑造的變化與異同，同時(shí)以部分相應(yīng)時(shí)期中國(guó)劇作中的美國(guó)人形象為參照，本書(shū)探討文化沖突與交融在中美文化交往各個(gè)階段的不同程度的表現(xiàn)，分析自身文化特性與需要之于對(duì)異質(zhì)文化的反應(yīng)和接受的決定性作用，討論不同的反應(yīng)和接受在歷史中的相互作用及對(duì)后期文化交流與發(fā)展的參與，認(rèn)為文化間（甚至同一文化內(nèi)部）不同力量的對(duì)比對(duì)文化交流起著十分重要的作用，基于不同的文化特征，中美兩種文化對(duì)他者的關(guān)照呈現(xiàn)出不同的特點(diǎn)，同時(shí)也存在著許多共性，而雙方的相互借鑒，以及同一種文化內(nèi)部對(duì)他者文化不同態(tài)度的相互作用均有可能對(duì)文化交流起積極作用。

內(nèi)容概要

　　《美國(guó)早期戲劇與電影中的中國(guó)人形象》講述了：在文化交流過(guò)程中，任何一種文化對(duì)異質(zhì)文化的反應(yīng)與接受，投射在文學(xué)藝術(shù)作品中的是對(duì)異域形象的“再現(xiàn)”，隱匿于其后的則是進(jìn)行著主體選擇的“自我”，而這背后則反映了兩者各自所處文化與意識(shí)形態(tài)空間的差距。對(duì)文學(xué)藝術(shù)作品中異國(guó)形象的研究探討的是異質(zhì)文化間所存在的距離、造成對(duì)異質(zhì)文化的多種反應(yīng)與接受的決定因素以及其間調(diào)和與共存的可能性。《美國(guó)早期戲劇與電影中的中國(guó)人形象》嘗試從美國(guó)早期戲劇與電影中對(duì)華人形象的再現(xiàn)入手，比較不同時(shí)期美國(guó)影、劇作者塑造的華人角色的變化與異同，同時(shí)以中國(guó)作家創(chuàng)作的戲劇中的美國(guó)人形象為參照，分析中美文化在19世紀(jì)末20世紀(jì)初不同歷史時(shí)期的交流與互動(dòng)的條件下，在不同力量的爭(zhēng)斗與制衡中的表現(xiàn)及其帶給中美雙方的欣喜與傷痛，初步探討跨文化交往中蘊(yùn)含的文化共性。

書(shū)籍目錄

IntroductionBroken BlossomsGeneral DescriptionTheoretical UnderpinningLiterature ReviewMain BodyChapter 1 Dream and Fantasy: The Remote China in ImaginationThe Arrival of L'Orphelin de la ChineKim-Ka!in the FairylandChapter 2 Marginalization and Distortion:The Unwelcome Other at the Door-StepEarly Chinese Immigrants in the Gaze of AmericansAh Sin by Twain and HarteWhy The Chinese Must Go?Chinatown Literature and The Queen of ChinatownThe Chinese Fought Back with a "Roar".Chapter 3 Re-examination and Experimental Adoption:Selective Borrowing in New HorizonThe First Born with a New ImageK' ung Fu Tze Leads to Another Look EastwardWho Wears The Yellow Jacket?Learning of Western Ideas in Romance on "the Springtime of Overseas Chinese"Chapter 4 Diversity and Collision:The Grope for Understanding During WWIIFu Manchu VS. Charlie ChanSprout of Hope on The Good EarthFriendship during Warfare in Mi Zhi NaConclusionsWorks Cited

章節(jié)摘錄

插圖：What is more，the Chinese、were thought to do more harm than grabbing economic benefit from the westerners，they were corrupting the society with their organizations.Slim Chunk Pin is a new type of Chinese chara.cter appearing on the American stage.As a representative of“the powerful Six Companis,”an organization accused of everything from slave trading to serying“the imperial designs of China”（Moy，44），Slim Chunk Pin exerts high techniques in controlling Chinese labors and in the interactions with the Americans.Shaking pffclumsy and passive features for Chinese characters in earlier plays，SIim Chunk Pin takes on an air of domination that later would appear in the Chtnatown dramas.He controls some dirty business like the trade of Chinese w、omen.By an order of“two dozen choice girls，between the ages of twelve and fifteen”detailed in price and delivery,the play hints on two-fold implications through the purchase of wolTlen in Chinese society.It testifies not only the Chinese community as crime-ridden and corrupt。in morality，but the replacement of Western.population with a potential of reproduction through the import of women.This has an even.stronger frightening effect to the audience，as Slim Chunk Pin said later，“We can do without the white people altogether.In ten years more，California will be ours”（Grimm，96）.It gives the audience an impression that the Chinese attempt to occupy the whole piece of land and corrupt the American society with their evi l organizations.And his powerful role is best illustrated when he helps Ah Coy to claim for his delayed payment from Dora，the hostess.He threatens Dora that“[And]mark you，if you don’t，your life won’t be safe a minute.”Then he tums to warn Ah Coy，“This is the sixth time in eight months we have furnished you with a situation，and now you are on our hands again.If we had all such chickens as you，the importation of coolies would be a bad speculation. You have not half paid your passage money yet’’（Grimm，102）.Carrying an air of the sinister gangs，this Slim Chunk Pin seems more threatening to the American society than any other Chinese characters.And Ah Coy，in turn，appears totally submitted to the power of Slim Chunk Pin：As“the play portrays the Chinese as virtual slaves to‘the powerful Six Cornpanies’”（Williams，2000，118），it further hints on the evil power of the“organization”and emphasizes its contradiction with the long cherished“American dream.”

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