从《蝴蝶君》看20世纪后半叶美籍华裔作家的东方视阈  

The Oriental Visual Threshold of Chinese American Writers in the Second Half of the 20th Century from the Perspective of M. Butterfly

作　　者：郑泽宁[1] ZHENG Ze-ning(School of Foreign Languages,Harbin Institute of Petroleum,Harbin 150027,China)

机构地区：[1]哈尔滨石油学院外语学院

出　　处：《佳木斯大学社会科学学报》2020年第1期113-116,共4页Journal of Social Science of Jiamusi University

摘　　要：20世纪后半叶是西方社会“东方主义”盛行的时代,一批优秀的美籍华裔作家作品的涌现,以独特的东方视角,借鲜明的人物塑造,从根本上扭转了西方人对东方人,尤其是对中国人的成见甚至是偏见。黄哲伦的《蝴蝶君》针对普切尼的《蝴蝶夫人》而作,颠覆了西方人“东方主义”的思维定势。本文从对《蝴蝶君》的研究入手,对比分析了这一时期的美籍华裔作家的东方视阈,认为黄哲伦与同时代的其它美籍华裔作家的视角虽不同,视阈却是一致的,这个与生俱来的东方视阈是他们的局限,也是他们的宿命。In the latter half of the 20th century,Orientalism prevailed in Western society.The emergence of a number of excellent Chinese-American writers and works fundamentally reversed the prejudices of Westerners towards the Orientals,especially towards the Chinese people,from a unique Oriental perspective and through vivid characterization.David Henry Hwang's"M.Butterfly"is aimed at Puccini's"Mrs.Butterfly",which subverts the Western thinking of"Orientalism".Starting with the study of“M.Butterfly”,this paper makes a comparative analysis of the Oriental Horizon of Chinese-American writers in this period.It holds that Hwang and other Chinese-American writers of his time share the same horizon.This inherent Oriental horizon is not only their limitation,but also their destiny.

关 键 词：美籍华裔作家 蝴蝶君 东方主义 文化视阈 

分 类 号：I109.9[文学—世界文学] I106.3