Does Chinese American literature belong to the category of western literature?

From the very beginning, the study of China's literature tried to clarify the category of China's literature. But this has always been an open question,

Controversial professional issues. Some people think that the subject of China literature should be defined by geography and nationality, such as China.

Zhao Jianxiu, an African-American writer and critic, believes that all the writers born and raised in the United States are China writers [3], and the others are China writers.

The definition of cultural attribute holds that Americans should be decorated with China people, that is, Chinese Americans should replace beautiful women.

Chinese Americans or Chinese Americans; Some American comments emphasize China's blood relationship beyond the definition of "American"; It was also emphasized.

Language standards. So in the study of China literature in the United States, there is such a situation. According to Zhao Jianxiu's standards, Lin

A large number of writers, such as Yutang and Zhang Ailing, do not belong to the category of China literature, while Zhang Jingjue's "Asian American Literature Research Program"

Records include writers such as Lin Yutang, Zhang Ailing, Li Jinyang, Nie Hualing, Yu Lihua and Chen Ruoxi, as well as newly published.

The History of Colombian American Literature has a special chapter on China literature, including Lin Yutang and Zhang Ailing.

The bibliography includes not only their works created in English in the United States, but also their works created in Chinese in the mainland before going to the United States.

For the English translation of their Chinese works, their works are regarded as a kind of "creation" in strategy, such as Eileen Chang's "smallness".

All the English versions she speaks are translated or rewritten by herself, so she is a creative work. The English version of The Golden Lock tells the story.

A China story set in Shanghai uses Chinese dialogue, narration and description to please English readers.

Besides, Zhang Ailing's familiarity with English enables her to weave oral English and traditional and modern consciousness into her novels. "

[1](P.547) Obviously, these definitions are fundamentally related to the identification of the author. Defining the complexity of a writer's identity is just like beauty.

Lin Yingmin, an expert in Chinese literature, said, "This is a simple and extremely complicated question. Based on race, nationality, gender

Birth place, place of death, longest residence time, occupation, class, interpersonal communication, personality characteristics, body shape, age,

Interest, religion, astrology, salary, self-identity or others' identity to confirm identity? The answer may be countless.

. [5](P. 104) Baiut of new york University in the United States also thinks: "The regime, nationality, race and language of a' country'.

Geographical significance is extremely confusing in' literature study abroad' and its related' overseas literature'. This is writing in a foreign language.

Especially in his works. "[6] It is obviously not desirable to adopt a single standard." If you have to' China'

,' America' to locate a writer ... The so-called' country/nation' is difficult to define among overseas writers. fallen leaves

In the final analysis, the binary opposition between "rooting" and "rooting" makes it difficult to generalize complex situations such as exterior and interior, interior and exterior, sparseness and separation. "

[6] It is impossible to define writers like Lin Yutang, Zhang Ailing and Chen Ruoxi if only the criteria of region and nationality are adopted.

Including dual nationality writers such as Pearl Buck. And only emphasize their writing place, but can't define Chen Ruoxi and

Nie Hualing and Bai Xianyong wrote in the United States, but their works mainly spread in Chinese mainland, Hong Kong and Taiwan. If you are limited by language,

The situation is more complicated. Undoubtedly, language is an important carrier of culture, and its significance in identity is enormous.

However, some examples in the history of literature tell us that language standards are also vague. For example, India and some like Al and

A phenomenon caused by colonialism in African countries such as Australia is that some writers use the language of colonial countries to create.

In fact, these works have not become "foreign literature", just as Tagore's English writing is also Indian literature.

. A nation often includes some smaller ethnic components, so different ethnic groups form a unified nation.

They also have the right to create in their own national languages, which are used by different national languages in some modern national countries.

The proportion is even similar, and the existence of multiple national languages in a nation-state is inevitable in the process of national integration.

Products. For example, Swiss literature includes Italian literature, French literature and German literature with similar proportions. Even in America

China has another bilingual problem. English is not the national language stipulated by the US Constitution. Many people in California have chosen English.

Spanish is their daily language. It is also argued that China literature should be defined and treated strategically with reference to the cultural dimension.

. People who hold this view think that for the overseas Chinese community living in China literature, it has nothing to do with China.

It is an external factor, such as nationality, occupation, birthplace, etc. And it is not only a language, but also a language.

Turn the lifeline. China is not only a national system, but also the cultural belonging of China and a nation.

The ethical value formed by the development of ancient national culture in the historical process will not change easily with the change of external material environment.

The change of nationality does not mean the change of cultural identity. Cultural countries have replaced geographical and political countries.

, that "Chinese in China is a cultural viewpoint of English" [7](P. 149) was put forward by overseas Confucian communicators.

The cognitive basis of cultural China.

However, emphasizing China's perspective from the perspective of cultural tradition may be related to the historical and realistic context in which China's literature is located.

Life in and out. So some people put China literature in the framework of American literature, claiming that "some people put something written by Maxine Hong Kingston.

The legend presented was mistaken for the correct myth of China "and then went to extremes, thinking that" some China scholars are based on China people.

American literature judges the faithfulness of China literature, while Chinese writers have no intention of merely replying.

Systematic or inherited China's literary tradition. Some people treat Chinese American literature with a condescending attitude and regard it as a' score'

"Branch", "offshoot", or worse, take it as a variety of China literature (aberrat

Ion)-rather than a completely independent literature (a separate literature). I think the most

It's good to focus on how Chinese writers transform China's stories, instead of following suit. "[8]

It is not difficult to see that all kinds of arguments involve a problem of cultural colonialism, and put the issue of identity into western hegemony.

The discussion on discourse and Orientalism makes the study of China literature more complicated. At the same time, China literature has subverted American masters.

The original intention of flowing culture to American minorities is enlarged and complicated.