篇一：基于华裔美国文学研究的思考
范 茗
（大连大学，辽宁 大连 116000）
摘 要：华裔美国文学是美国多元化文化的一个分支，不仅蕴含着美国主流文化思想，而且包含着中国独特的文化精髓。本文对华裔美国文学的研究主要从大陆视角、台湾视角、美国多元文化下的差异文化政治和中国文化与华裔美国文化关系四个角度展开阐述，对中国文化与华裔美国文学的辩证关系做出了分析。
关键词：华裔美国文学；美国多元文化；中国文化；研究思考
中图分类号：I109文献标识码：A文章编号：1673-2596（2014）11-0194-02
华裔美国文学是上世纪60年代末到70年代初美国民权运动之后产生的，与同时期的黑人平均运动、反越战运动等都是推动美国多元文化发展的助力军。80年代国内一般用“美国华裔文学”来译介华裔美国文学，与同时期的“美国黑人文学”、“美国犹太文学”、“美国印第安文学”等属于同一种提法。随着译介华裔美国文学的普遍和深入，国内许多人开始接受“华裔美国文学”译名。近20年来，对华裔美国文学的研究又可分为大陆和中国台湾两个地区的理论观点。与本土的中国文学不同，华裔美国文学不仅部分继承了中国文化的主色调，而且融合了一些美国白人文化，这一点从一些美籍华人的文学作品中不难看出。其作品的年代背景、文化多样性和深度都反映出华裔文化对美国白人文化的影响，为后来的华裔美国人在美国占据独特的文化地位奠定了基础[1]。50多年的发展时间使得华裔美国文学在美国文化领域取得了不可替代的地位，她的发展历程经历了异质文化与本土文化的冲突，多种族裔文化男子气概和女性主义的相结合，新兴美国文化与现有文化的抵触与融合等过程。本文从华裔美国文化的发展历程、华裔美国文化的中国台湾视角、华裔美国文化的大陆视角和美国多元文化的差异文化政治角度分别对华裔美国文化作出了研究思考，最后对中国文化与华裔美国文学的辩证关系做出了分析。
一、紧随美国批评动向的中国台湾视角
台湾对华裔美国文学的研究源于20世纪80年代，由台湾学者刘绍铭开始译介华裔美国文学作品，后由林茂竹、冯品佳、梁一苹等在各自的博士论文研究中阐述华裔美国文化。上世纪90年代华裔美国文学逐渐开始进入台湾文学教育体系，多家高校开始设立华裔美国文学课程。由于教学的引导作用，越来越的学者和在读硕士、博士开始对华裔美国文学产生兴趣，投入时间研究华裔美国文学，并选择一些华裔美国文学方面题目作为硕士、博士论文的研究课题，逐渐为台湾培养了一批研究华裔美国文学的专家和学者，华裔美国文学在台湾发展进入一个蓬勃发展时期。
随着对华裔美国文化研究的深入，台湾一些学者开始对华裔美国文学的研究方向和局限做出质疑。在一篇文章中，曾有学者提出：“台湾学者用中文翻译美国文学时，应该站在什么视角、什么位置代表谁发言？”现在翻开台湾关于华裔美国文学作品能够清楚地看到其在研究华裔美国文学上呈现出一种过分依赖美国批评动向的路线，过多地采用美国多元文化中的后殖民主义、女性主义、少数族裔文化等研究理论去研究华裔美国文学，偏离了华裔美国文化的独特价值和理论意义。这样不仅没有形成台湾独特的华裔美国文化的视角，也没能抓住华裔美国文化的核心和主流，无法彰显华裔美国文化的独特魅力。产生这种现象的根本原因与学者本身的求学经历有关，台湾研究华裔美国文学的学者大部分都曾有美国留学经历，或者在美国完成华裔美国文化的硕士、博士论文，深受美国文化的影响，他们对美国国内的批评动向非常敏感，联系紧密。尽管如此，台湾对华裔美国文学的研究也取得了较高的成绩，对大陆研究美国华裔文学起到了一定的推动作用[2]。台湾学者开创性研究华裔美国文学并取得的诸多成绩和创建的基础框架，为后学者研究华裔美国文学奠定了基础。
二、具有“文化中国”情节的大陆视角
大陆对华裔美国文学的研究较晚一些，主要在上世纪80年代开始有所了解，到90年代大陆
所有关于华裔美国文学的论文一共不超过5篇。大陆最初对华裔美国文学的研究并不是纯粹自己的见解，或多或少地会受到美国本土多元文化和台湾学者对华裔美国文学理解的影响，这一阶段属于大陆研究华裔美国文学的探索阶段。经过十多年的努力，大陆对华裔美国文学研究逐渐开始发出自己的声音，为华裔美国文学多元化的发展注入新的思想。国内对华裔美国文学的研究并不像中国台湾境内的学者那样“步调统一”，在对华裔美国文学的思考研究方面，出现了两类不同文学背景的研究学者：一类是以中文文学为研究背景主要研究海外文学的中文系学者，另一类则是以英语文学为研究背景研究华裔美国文学的英语系学者。
大陆对海外文学的研究开始阶段主要是对一些包括香港、澳门在内的小范围的海外华人的中文作品进行研究。随着对海外文学研究的不断深入，除了对港台地区的海外文学感兴趣外，逐渐向世界范围内所有华人文学研究扩展，包括东南亚文学、新加坡、北美、欧洲、澳大利亚、加拿大等华人聚集比较密集的国家和地区。相较于以英语系学者为主要研究人员的中文系海外文学研究，研究成员队伍更加庞大，具有非常深厚的中国本土文学的文化内涵。他们在研究华裔美国文学的过程始终以“文化中国”的角度切入，分析、理解华裔美国文学，并且试图将海外华人文学与母语文学紧密联系起来。他们发表的多篇博士论文和文学著作一定程度上推动了华裔美国文学的多元化研究。与中文系研究海外文学研究队伍不同，由英语系组成的研究华裔美国文学的研究队伍最初是以翻译华裔美国文学为主线，侧重于将中国文学与华裔美国文学进行对比。恰逢21世纪初，大陆对华裔美国文学的研究进入到了持续升温的时期，大陆境内各个大学、期刊纷纷设立华裔美国文学研究机构或者期刊专栏，关于华裔美国文学的论文和文学作品已增加到近两百篇。这样，华裔美国文学也渐渐进入到了国内大学英语语言学习的课程，为英语系培养了一批专门研究华裔美国文学的硕士、博士，并且取得了很大成绩。
无论是中文系的海外文学研究还是英语系的华裔美国文学的研究，都是从华裔文学的属性入手，强调其与中国文化的渊源，分析中国文化对华裔美国文学的引导和向度。从近几年发表的有关华裔美国文学作品可以看出，其主题已不再仅仅以华裔美国文学为主要方向，一般都要与“中国文化”、“中国文学创作”、“外国文学与中国文学的交融与冲突”等角度一同展开
[3]。在大陆，虽然对华裔美国文学的研究还在持续升温，但都与国内本土文化的主流思想是一致的，那就是无论是美国还是其他地区，华人对自己故乡的思念和中华文化的深深烙印是不随时间和空间改变的。
三、美国多元文化下华裔美国文化的差异文化政治
人都是一样的，无论到了什么地方始终不变的是自己民族文化的深深影响和思想观念。美国自称是一个自由国家，也是一个移民大国，随着移民而来的是多元文化的相互碰撞、冲突、融合、创新，这就像一个文化熔炉维系着美国多元文化的发展。但是美国国土无论多么的开放、自由，美国社会各民族的特点、民族的文化价值思想和民族精神是无法完全融合、同化的。各民族都有自己的服饰、语言、思想和政治观念，他们对一些主流的美国政治观念并非完全能够接受，因而形成了美国多元文化下的差异文化政治。在一个多元化语境之下，美国文化试图通过同化的方式来消除民族的文化差异和不同的政治观念。如果美国完全丢弃族裔的文化特点，而以白人种族文化作为文化同化的方向，势必是一种文化霸权主义，所谓的文化多元主义只不过是一纸空谈。
差异文化政治最主要的特点是思想上的多元化，避免单一性和同质性，新时期的差异文化政治要求文化的知识性、文化性和政治性。对华裔美国文学，贯穿整个文化脉络的是在中国文化中根深蒂固的儒家文化，对美国主流的文化来讲，华裔美国文学是少数族裔的文化传统。但是无论文化差异冲突和融合，华裔美国文化应该呈现出一种具有正面、正统中国儒家文化和独特的政治思想[4]。在美国多元文化的大背景下，开创出具有独特地位、背景的自己族裔文化的文学成就，并能够形成影响美国文化，赢得自己生存空间的独树一帜的差异文化政治。
四、中国文化与华裔美国文化
如今的中国与美国合作、交流深入而广泛，应该如何界定华裔美国文化和中国文化的关系，无论在台湾地区还是大陆都是一个热门话题。华裔美国文学是美国多元文化的一个分支，与中国的多民族文化一样，允许用少数民族语言创作文学作品。笔者认为，华裔美国文学与中国文学应该是同化与相容的关系，并不存在相互抵消或消融层面。说华裔美国文学是美国文学或是中国文化的分支也好，说华裔美国文学是宣传中国文化或是美国独有的文化背景也好，笔者认为它都是世界文化不可或缺的一部分。与其说它与众不同，倒不如说是在多元文化的激烈碰撞中，应声演变、创新出来的一种影响后人的启迪人类思想的重要文化形式。作为中国读者或者美国读者在思考华裔美国文化作品时，应该主要感受其独特的文学魅力，感受世界文学大发展演变出来的新兴文学给人类带来的开阔视野。
中国学者可以通过华裔美国文学中感受中国文化在美国文化背景下的巧妙融合与发展。虽然华裔美国文学继承了中国文化的精髓，但是其自身包含的美国文化的内涵和差异让人领略到文化的多样和丰富[5]。华裔美国文学本身是美国文学的一个分支，反应美国文化的主流，中国学者应该利用好自己对中国社会、历史和传统文化的优势，深入研究华裔美国文学。 在世界文化交流日益广泛和深入的今天，要想更好地研究华裔美国文学，应该从不同视角和背景下对新兴文化思考和分析。这也为中国文化如何实现向现代化转型提供探索依据和借鉴，为如何让中国本土文学在世界全球化文学更好地生存提供指导意义。
篇二：美国文学论文
本科生期末论文设计范文
( 2011届 )
题 目： 19世纪美国男权社会下女性的成长——
解读《觉醒》中艾德娜的觉醒过程和原因
学 院： 浙江师范大学行知学院 专 业： 英 语
学生姓名：陈珊珊学号：09306101
指导教师： 江玉娇 职称： 教授
合作导师： 职称：
完成时间： 2011 年 12 月23 成 绩：
Appreciation of The Road Not Taken by Robert Frost
Chen Shanshan
Abstract:
The Rod Not Taken is one of the best known poems by Robert Frost, simple and beautiful in form and its meaning is deep. There are many different opinions on the theme of The Road Not Taken. Most of them think that people should not follow in other’s footsteps and should be brave in research, choose the road less travelled. This paper tries to analyses the form and the meaning of The Rod Not Taken.
Key words: form; meaning; poem
《未选择的路》赏析
陈珊珊
摘要：
《未选择的路》是一首最有名的诗之一，由罗伯特?弗罗斯特写的。它的形式简单，美好而且意义深远。对于这首诗人们有不同的看法，大多数人认为这首诗告诉我们不要随波逐流，要勇于探索，选择人走得少的道路。本文将从诗的形式和意义来分析《未选择的路》。
关键词：形式；意义; 诗
Appreciation of The Road Not Taken by Robert Frost
Chen Shanshan（091）
Tutor: Jiang Yujiao
1. Introduction
1.1 The Information about the Poet, Robert Frost
Robert Frost (1874-1963) was born in San Francisco, California, where he spent his childhood. In 1885, after his father died of tuberculosis, the Frosts moved to Massachusetts. There, Robert graduated from high school sharing top honors with a student he would later marry Elinor White. In his spare time, he wrote poetry. Disappointed with the scant attention his poems received, he moved with his wife to Great Britain to present his work to readers there. Publishers liked his work and printed his first book of poems, A Boy’s Will, in 1913, and a second poetry collection, North of Boston, in 1914. The latter book was published in the United States in 1915.Having established his reputation, Frost returned to the United States in 1915 and bought a small farm in Franconia, N.H. To supplement his income from the farm and his poetry, he taught at universities. Between 1916 and 1923, he published two more books of poetry—the second one, New Hampshire, winning the 1923 Pulitzer Prize. He went on to win three more Pulitzer Prizes and was invited to recite his poem ―The Gift Outright‖ at President John F. Kennedy’s inauguration in January 1961. Frost died in Boston two years later. One may regard him as among the greatest poets of his generation
Robert Lee Frost was a famous American poet. He is highly regarded for his realistic depictions of rural life and his command of American colloquial speech. He does different jobs in rural areas in New England in the early twentieth century, and writes poems by using his personal life experiences. His poems examine complex social and philosophical themes. A popular and often-quoted poet, Frost was honored frequently during his lifetime, receiving four Pulitzer Prizes for Poetry.
1.2 The Background of this Poem
Robert Frost was born in a teacher family, spent his childhood in the western
United States. After graduating from high school, he graduated from Harvard
University after two years of study. He worked as a weaver, teachers and farm. His life journey is not smooth at all. He has moved to different places and has had many different jobs. Meanwhile he began to write poetry. But his poems didn’t bring to the attention of the American.
In 1912, Frost was 38 years old. This year he made an important choice: give up his teaching in a normal school, so he had to give up the flat and stable life. He chose the poetry. He said to himself: "though I’m poor, I would keep writing."
The Rod Not Taken is one of the best known poems by Robert Frost. It was published in 1915, in the collection Mountain Interval. He put his thoughts and feelings into the poem. His poetic style is simple and meaningful. This poem is a fine example, its language is Concise fluent and simple, and it is easy to understand.
2. Analysis of the Poem
2.1 Form
The form of this poem is: four stanzas of five lines each; all lines are capitalized, flush left, and of approximately the same length. The rhyming scheme is so rhythmical and familiar to readers that it sounds like music when the poem is read. The poem has 4 stanzas. They can be divided into two layers. The 1-3 stanzas are the first layer. In a yellow wood, I’m facing two roads. After thinking deeply, I decided to choose the road less travel. In this layer, the poet describes the selection is not a hasty decision. He goes through a complex psychological process. On the road of life, he arrives at a point where he must decide which of two equally appealing (or equally intimidating) choices is the better one. He examines one choice as best he can, but the future prevents him from seeing where it leads. He selects the road that appears at first glance to be less worn and therefore less traveled. It suggests that he has an independent spirit and does not wish to follow the crowd. After a moment, he concludes that both roads are about equally worn. Leaves cover both roads equally. No one on this morning has yet taken either road, for the leaves lie undisturbed. The speaker remains committed to his decision to take the road he had previously selected, saying that he will save the other road for another day. He observes, however, that he probably will never pass this way again and thus will never have an opportunity to take the other road.
The stanza 4 is the second layer. It is the author's feelings many years later. He wants to telling others about the choice he made. While doing so, he will sigh either with relief that he made the right choice or with regret that he made the wrong choice.
Whether right or wrong, the choice will have had a significant impact on his life. This tells us that in everyone’s life, he or she may face a lot of options, we must make decision, and we must consider a lot. In some degree nobody can judge which one is the right and which is the wrong one. The problem is that, once we make a choice, and take a road, we cannot come back. When we recall our choice after many years, we will know that everything began to change the moment we took the road. Every choice will have an impact on life; Choose a different road, the fate would be different. 2.2 Meaning
The Road Not Taken centers on the concept of choice. The road that the speaker is walking on is splitting in two directions, and he has to decide which way to go. This road is not just in the woods, but also represents a decision in his life. Something in his life is changing, forcing him to make a choice. Yet he has a really hard time deciding – one moment, he thinks one way is better, the next, both paths are about the same. Whether or not he has a reason why the choice he makes is better, he has to make it. And that choice changes his life.
Although the poet wrote the road he chose, but the focus is the road which he didn’t select. The subject also shows this. So choice is very important. But why the poet focus on the road he didn’t choose? In fact, not choose is just a kind of choice. In the life, people usually didn’t satisfy their choices. So it made people to miss the road they didn’t choose. So in this poem, the poet remained the road that not be chose in his mind. This is a true meaning of life.
In the life, there are many roads that people can choose. But one person can only choose one way. People have to give up many other choice, because the life is to short to everyone. Choosing the road of life has a lot of contingency and randomness. Those roads people have not chosen made people more miss. The poets did not write the chosen path, while focusing on the road not taken. It drew the readers’ attention to think of life, to think deeply about the choice. Selection is inevitable. No matter which way you choose, you never know what it means unless you go over, and we don’t need to regret what we don’t choose.
篇三：美国文学论文
美国文学研究
摘要：如同其他所有国家一般，美国的文学是由其独特的发展历史所塑成的。在早期，美国是由(本文来自：wwW.xIAocAofaNwEn.com 小 草范 文 网:美国文学论文作品)东岸的一系列英国殖民地所形成的，因此美国文学的传统较亲近于英国文学。不过，随著历史的进展和不断的移民潮，美国文学的特色和宽广度都已经超出英国文学的范畴。在最早的殖民时期，美国文学主要的题材是赞扬新大陆替殖民者和欧洲母国所带来的利益。宗教信仰上的争议也是题材之
一。随著革命战争的爆发和美国的独立，催生了新国家的独立意识。写下了独立宣言.奴隶制度的冲突和接踵而来的内战也对美国文学有深刻影响，到了19世纪末，由于工业化的进展和国土开拓时期的结束，美国文学脱离了原先的边境文学，进入了20世纪，工业化带来的社会转变使美国文学发展的更为多元和复杂。黑人文学、南部文学、以及现代文学也在同时期兴起。在第二次世界大战后，新的世代、和新的种族、地区、社会特征都与之前的世代大不相同，大量的移民文学和新兴的女性主义文学也成为美国文学的一部分了。
关键词：殖民地；独立意识；美国文学；黑人文学；后现代主义文学
中图分类号：i306 文献标识码：ａ 文章编号：1005-5312（2010）24-0061-02
美国文学表现为平民化，多元化，富于阳刚之气，热爱自由，追求以个人幸福为中心的美国梦。美国文学大致出现过3次繁荣：19