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作 者:杨晓丽[1] YANG Xiaoli(School of Foreign Languages,Taiyuan University of Science and Technology.Taiyuan,Shanxi 030024,China)
机构地区:[1]太原科技大学外国语学院
出 处:《安徽理工大学学报(社会科学版)》2019年第3期43-47,共5页Journal of Anhui University of Science and Technology:Social Science
基 金:教育部人文社会科学研究青年基金项目(15YJC752039);山西省软科学研究项目(2017041016-5);中国国家留学基金资助(201708140001)
摘 要:林露德通过作品,木鱼歌,把创作主题由单纯的描述美籍华裔的悲苦移民史,扩展到不同种族中边缘女性的悲情血泪史.三位不同种族的边缘女性,虽各有迥然不同的人生轨迹和思想境界,但其悲苦遭遇的实质却大抵相似,无论生活水准、社会地位如何,她们在本质上都被剥夺正常的求知权、自由权,并被赋予扭曲且异化的家庭观和道德观.文章试图通过分析吕金功生活中的三位不同种族边缘女性的生活遭遇与人生经历,揭示美国那段特殊时期里边缘女性在求知权、自由权、道德观和家庭观等方面表现出的诸多不平等.The novel Wooden Fish Songs, written by Ruthanne Lum McCunn,does more than just focus on immigrant life of Chinese in nineteenth - century America but also highlights the tragic “songs” of marginalized -women at that time. The author, through the eyes of these three women, provides a lens in which to understand not just Lue’s treatment and assimilation in a prejudicial America but how their similar injustices and intellectual marginalization are the songs that tie this story together. The author demonstrates that laments sung by Chinese women left behind by husbands and family is not just a regional issue but global, from Lue Gim Gong’s Chinese mother, Sum Jui, to Lue’s teacher Fanny,and to Lue’s African friend,Sheba. This paper attempts to analyze and demonstrate how the life experiences and suffering of these three, diverse women not only deprived them of their inherent human rights but denigrated the family system by marginalizing a woman’s role and position in the family hierarchy.
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