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題名：黃哲倫劇作之發展與轉變
作者：張金櫻
作者(外文)：Chin-ying Chang
校院名稱：國立臺灣師範大學
系所名稱：英國語文學系
指導教授：黃美序
學位類別：博士
出版日期：2005
主題關鍵詞：ethnicity；multiculturalism；interculturalism；Chineseness；族群；多元文化主義；平跨文化主義；華人屬性
原始連結：連回原系統網址new window
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本文旨在探討華裔劇作家黃哲倫劇作內容及風格之發展與轉變。全文分三部份。第一部份探討其早期三本以美籍華人為題材的作品 --《剛下船的》, 《舞與鐵路》, 《家庭崇拜》。在第一章指出黃哲倫對美籍華人圈內的衝突作了細緻描寫與反省。第二章探討此三劇中描述的華人屬性(Chineseness) -- 中國傳奇人物、飲食、及京劇元素。 第三章針對美籍華人的特殊語言形式作一分析。從這三部作品可看出作者強調美籍華人文化之族群特色，與擴展美國文學範疇之企圖心。第二部份討論作者受多元文化主義影響下寫出的三本劇本：《睡美人之家》、《聲音之聲》、《有錢的親戚》。在此時期，黃哲倫認為美國劇場應該製作以各個不同族群文化為題材的作品，作家的寫作題材也不必局限於自己的族群文化。第四章及第五章分別討論了以日本文化及白人家庭為主的作品。作者除了深刻描述日本及白人的文化觀，也點出了一些跨文化的主題供人深思。本文第三部份討論較後期包含不同種族的角色的作品。在此階段，黃哲倫宣稱自己已轉變為平跨文化主義的思想模式，他認為發掘出不同族群間的相似點更是迫切之需。第六章討論的作品中點出不同文化、性別、及階級的人之間共有的生活體驗。第七章針對兩齣在美國百老匯曾上演的作品：《蝴蝶君》及《金寶貝》做深入的分析，藉由檢視劇中呈現的中國文化，了解作者在多種族及多文化並存的美國社會裏，對自己身為“美國作家”之定位。
This dissertation is a research study of the development and transformation of dramatic concerns and techniques in David Henry Hwang’s plays. The study is divided into three parts. Parts One focuses on Hwang’s early three plays about Chinese American experiences – FOB (1979), The Dance and the Railroad (1981) and Family Devotions (1981). Chapter One discusses the theme of communal conflicts in these plays to justify their function of social criticism. Chapter Two pays attention to the Chineseness in these three plays: mythological figures, alimentary images, and Chinese Opera elements. Chapter Three is an analysis of the various language forms in these plays – the acronyms, the transliterations, names, and variant forms of the English language. The emphasis of these ethnic cultural elements justifies Hwang’s intention of expanding the category of American literary canon. Part Two concentrates on Hwang’s three subsequent plays: The House of Sleeping Beauties (1983), The Sound of a Voice (1983), and Rich Relations (1986). With the influence of multiculturalism, Hwang claims that the American theatre should produce plays by and about any ethnic cultures, and that a playwright should not confine his source materials to his own ethnic culture. Chapter Four and Five examine plays of Japanese and Caucasian subjects to see how he demonstrates universal human issues by interrogating some specific cultural groups. Part Three investigates the later plays with mix-raced characters. Chapter Six is an exploration of the intercultural relationship demonstrated in As the Crow Flies (1986), M. Butterfly (1988), Bondage (1992), Golden Child (1996) and Trying to Find Chinatown (1996), which stress both the similarity and the difference between ethnic groups in order to reach a better understanding. Chapter Seven further evaluates the function of Chinese cultural practices in M. Butterfly and Golden Child, both produced on American Broadway stage – to see the playwright’s attempt of claiming his status as an “American” playwright in a multi-racial and -cultural American society.
Works Cited


I. Primary Sources

Hwang, David Henry. FOB and Other Plays. New York: Penguin, 1990.
[Plays included: FOB, The Dance and the Railroad, Family Devotions, The House of Sleeping Beauties, The Sound of a Voice, Rich Relations]

---. “As the Crow Flies.” Between Worlds: Contemporary Asian-American Plays. Ed. Misha Berson. New York: Theatre Communication Groups, 1990. 97 – 107.

---. M. Butterfly. New York: Dramatist Play Service, 1988.

---. Trying to Find Chinatown and Bondage. New York: Dramatist Play Service, 1996.

---. Golden Child. New York: Theatre Communication Groups, 1998.

II. Secondary Sources

A. Sources in English
Ashcroft, Bill, Gareth Griffiths, and Helen Tiffin. The Empire Writes Back: Theory and Practice in Post-Colonial Literatures. London: Routledge, 1989.

Bascara, Victor. “Hitting Critical Mass: (or, Do your parents still say ‘Oriental,’ too?).” Critical Mass: A Journal of Asian American Cultural Criticism 1.2 (Fall 1993) 3 – 38.new window

Benedict, Ruth. The Chrysanthemum and the Sword: Patterns of Japanese Culture. Boston : Houghton Mifflin Company, 1946.

Berson, Misha. “The Demon in David Henry Hwang.” American Theatre 15.4 (1998): 14 – 18.

Brown, Linda Keller and Kay Mussell. “Introduction.” Ethnic and Regional Foodways in the United States. Ed. Linda Keller Brown and Kay Mussell. Knoxville: The University of Tennessee P, 1984. 3 – 15.

---, eds. Ethnic and Regional Foodways in the United States. Knoxville: The University of Tennessee P, 1984.

Bryer, Jackson R. “David Henry Hwang.” The Playwright’s Art: Conversations with Contemporary American Dramatists. New Brunswick, New Jersey: Rutgers UP, 1995. 123 – 46.

Case, Sue-Ellen. Feminism and Theatre. London: Macmillan, 1988.

Chan, Jachinson. Chinese American Masculinities: From Fu Manchu to Bruce Lee. New York: Routledge, 2001.

Chan, Sucheng. Asian Americans: An Interpretive History. Boston: Twayne Publishers, 1991.

Chang, Williamson B C. “M. Butterfly: Passivity, Deviousness, and the Invisibility of the Asian-American Male.” Bearing Dreams, Shaping Visions: Asian Pacific American Perspectives. Ed. Linda A. Revilla, et al. Pullman, Washington: Washington State UP, 1993. 181 – 84

Chaudhuri, Una. “The Future of the Hyphen: Interculturalism, Textuality, and the Difference Within.” Interculturalism and Performance: Writings from PAJ. New York: PAJ Publications, 1991. 192 – 207.

Cheung, King-Kok. “The Woman Warrior versus The Chinaman Pacific: Must a Chinese American Critic Choose between Feminism and Heroism?” Conflicts in Feminism. Ed. Marianne Hirsch and Evelyn Fox Keller. New York: Routledge, 1990. 234 – 51.

---. “Re-viewing Asian American Literary Studies.” An Interethnic Companion to Asian American Literature. New York: Cambridge UP, 1997. 1 – 36.new window

---, ed. An Interethnic Companion to Asian American Literature. New York: Cambridge UP, 1997.

Chevalier, Jean, and Alain Gheerbrant. A Dictionary of Symbols. Trans. John Buchanan-Brown. Oxford: Blackwell, 1994.

Chin, Frank. “Come All Ye Asian American Writers of the Real and the Fake.” The Big Aiiieeeee!: An Anthology of Chinese American and Japanese American Literature. Ed. Jeffery Paul Chan, et al. New York: Meridan, 1991. 1 – 92.new window

Chin, Frank, et al. eds. Aiiieeeee! Garden City, New York: Anchor Books, 1975.

Chow, Rey. Woman and Chinese Modernity: The Politics of Reading between West and East. Minnesota: U of Minnesota P, 1991.

Cody, Gabrielle. “David Hwang’s M. Butterfly: Perpetuating the Misogynist Myth.” Theatre 20.2 (1989): 24 – 27.

Cooperman, Robert. “Across the Boundaries of Cultural Identity: An Interview with David Henry Hwang.” Staging Difference: Cultural Pluralism in American Theater and Drama. Ed. Marc Maufort. New York: Peter Lang, 1995a. 365 – 73.

---. “New Theatrical Statements: Asian-Western Mergers in the Early Plays of David Henry Hwang.” Staging Difference: Cultural Pluralism in American Theater and Drama. Ed. Marc Maufort. New York: Peter Lang, 1995b. 201 – 13.

DiGaetani, John L. “David Henry Hwang.” A Search for Postmodern Theatre: Interviews with Contemporary Playwrights. New York: Greenwood, 1991. 161 – 74.

Douglas, Mary. “Deciphering a Meal.” Daedalus 101.1 (1972): 61 – 81.new window

Drake, Sylvie. “Hwang: L. A. Playwright Has a New York Dateline.” Los Angeles Times 8 November 1981: 43, 46.

Ebrey, Patricia. “Women, Marriage, and the Family in Chinese History.” Heritage of China: Contemporary Perspectives of Chinese Civilization. Ed. Paul S. Ropp. Berkeley: U of California P, 1990. 197 – 223.

Garber, Marjorie. “Phantoms of the Opera: Actor, Diplomat, Transvestite, Spy.” Vested Interests: Cross-Dressing and Cultural Anxiety. New York: Routledge, 1992. 234 – 66.

Gerard, Jeremy. “David Hwang Riding on the Hyphen.” Asian American Literature: Reviews and Criticism of Works by American Writers of Asian Descent. Ed. Lawrence J. Trudeau, ed. Detroit, London: Gale, 1999. 151 – 55.

Goellnicht, Donald C. “Blurring Boundaries: Asian American Literature as Theory.” An Interethnic Companion to Asian American Literature. Ed. King-Kok Cheung. New York: Cambridge UP, 1997. 338 – 65.

Hall, Stuart. “New Ethnicities.” Stuart Hall: Critical Dialogues in Cultural Studies. Ed. David Morley and Kuan-Hsing Chen. London and New York: Routledge, 1996. 441 – 49.

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Hom, Marlon, K. “A Case of Mutual Exclusion: Portrayals by Immigrant and American-born Chinese of Each Other in Literature.” Amerasia Journal 11.2 (1984): 29 – 45.

Hornby, Richard. “California Theatre: Four New Plays and a Revival.” The Hudson Review 50.2 (1997): 298 – 304.

Hsu, Tao-Ching [許道經]. The Chinese Conception of the Theatre. Seattle and London: U of Washington P, 1985.

Hwang, David Henry. “David Henry Hwang.” Between Worlds: Contemporary Asian–American Plays. Ed. Misha Berson. New York: Theatre Communication Groups, 1990a. 92 – 95.

---. “Introduction.” FOB and Other Plays. New York: Penguin, 1990b. x – xv.

---. “Facing the Mirror.” The State of Asian America: Activism and Resistance in the 1990s. Ed. Karin Aguilar-san Juan. Boston: South End Press, 1994. ix – xii.

---. “Bringing Up ‘Child.’” Golden Child. New York: Theatre Communication Groups, 1998. v – ix.

---. “Evolving a Multicultural Tradition.” 16.3 MELUS (Fall 1989-1990): 16 – 19. Rpt. in Lawrence J. Trudeau, ed. Asian American Literature: Reviews and Criticism of Works by American Writers of Asian Descent. Detroit, London: Gale, 1999. 155 – 57.

---. “David Henry Hwang: The Two Faces of An Ex-fundamentalist.” American Theatre (Nov. 2000a): 29.

---. “Worlds Apart.” American Theatre (Nov. 2000b): 50 – 56.

“Hwang Play Closes after 8 Previews.” The New York Times 16 March 1993: C14.

Jiang, Tsui-fen. “Disembedding, Deterritorialization, Hybridization in David Henry Hwang’s As the Crow Flies,” Tamkang Review 33. 3-4 (2003): 177 – 96.

Juan, E. San, Jr. “Beyond Identity Politics: The Predicament of the Asian American Writer in Late Capitalism.” American Literary History 3.3 (1991): 542 – 65.

Juan, Karin Aguilar-san. “Linking the Issues: From Identity to Activism.” The State of Asian America: Activism and Resistance in the 1990s. Boston: South End Press, 1994. 1 – 15.new window

---, ed. The State of Asian America: Activism and Resistance in the 1990s. Boston: South End Press, 1994.

Kalcik, Susan. “Ethnic Foodways in America: Symbol and the performance of Identity.” Ethnic and Regional Foodways in the United States. Ed. Linda Keller Brown and Kay Mussell. Knoxville: The U of Tennessee P, 1984. 37 – 65.

Kawabata, Yasunari. House of the Sleeping Beauties and Other Stories. Trans. Edward G. Seidensticker. Tokyo: Kodansha International Ltd., 1969.

Kehde, Suzanne. “Engendering the Imperial Subject: The (De)Construction of (Western) Masculinity in David Henry Hwang’s M. Butterfly and Graham Greene’s The Quiet American.” Fictions of Masculinity: Crossing Cultures, Crossing Sexualities. Ed. Peter F. Murphy. New York & London: New York UP, 1994. 241 – 54.

Kerr, Douglas. “David Henry Hwang and the Revenge of Madame Butterfly.” Asian Voices in English. Ed. Mimi Chan & Roy Harris. Hong Kong: Hong Kong UP, 1991. 119 – 30.

Kim. Elaine H. Asian American Literature: An Introduction to the Writings and Their Social Context. Philadelphia: Temple UP, 1982.

---. “Such Opposite Creatures: Men and Women in Asian American Literature.” Michigan Quarterly Review 29 (1990): 68 – 93.

Kim, Esther Songie. Asian American Theatre History from the 1960s to 1990s: Actors, Playwrights, Communities, and Producers. Diss. Ohio State University, 2000.

King, Robert L. “Premieres and Adaptations.” The North American Review 282.2 (197): 48 – 52.

Kingston, Maxine Hong. The Woman Warrior. New York: Penguin, 1975.

---. “Cultural Mis-readings by American Reviewer.” Asian and Western Writers in Dialogue: New Cultural Identities. Ed. Guy Amirthanayagam. Hong Kong: Macmillan, 1982. 55 – 65.

---. “Foreword.” FOB and Other Plays. New York: Plume, 1990. vii – ix.

Kondo, Dorienne K. “M. Butterfly: Orientalism, Gender, and a Critique of Essentialist Identity,” Cultural Critique 16 (Fall 1990): 5 – 29.

---. About Face: Performing Race in Fashion and Theatre. New York: Routledge, 1997a.

---. “Interview with David Henry Hwang.” About Face: Performing Race in Fashion and Theatre. New York: Routledge, 1997b. 211 – 25.

Koss, Nicholas. “Christianity in Selected Works of Chinese-American Literature.” Fu-Jen Studies 24 (1991): 13 – 30.

Lahr, John. “Ghosts in the Machine.” New Yorker 72.37 (1996): 121 – 23.

Lee, Josephine. Performing Asian American: Race and Ethnicity on the Contemporary Stage. Philadelphia: Temple UP, 1997.

Lee, Robert G. Orientals: Asian Americans in Popular Culture. Philadelphia: Temple UP, 1999.

Lee, Peter Ching-Yung. “Understanding Death, Dying, and Religion: A Chinese Perspective.” A Cross-Cultural Look at Death, Dying, and Religion. Ed. Joan K. Parry & Angela Shen Pyan. Chicago: Nelson-Hall Publishers, 1995.

Li, David Leiwei. Imaging the Nation: Asian American Literature and Cultural Consent. Stanford, California: Stanford UP, 1998.

Ling, Jinqi. “Identity Crisis and Gender Politics: Reappropriating Asian American Masculinity.’ An Interethnic Companion to Asian American Literature. New York: Cambridge UP, 1997. 312 – 337.

Loo, Chalsa. “M. Butterfly: A Feminist Perspective.” Bearing Dreams, Shaping Visions: Asian Pacific American Perspectives. Ed. Linda A. Revilla, et al. Pullman, Washington: Washington State UP, 1993. 177 – 80

Lowe, Lisa. Immigrant Acts: On Asian American Cultural Politics. Durham and London: Duke UP, 1996.

Lyons, Bonnie. “Making His Muscles Work for Himself: An Interview with David Henry Hwang.” The Literary Review 42.2 (Winter 1999): 230 – 44.

Ma, Sheng-mei. “Orientalism in Chinese American Discourse: Body and Pidgin.” Modern Language Studies 23.4 (Fall 1993): 104 – 17.

McDonald, Dorothy Ritsuko. “Introduction.” The Chickencoop Chinaman and The Year of Dragon: Two Plays by Frank Chin. Seattle and London: U of Washington P, 1981. ix – xxix.

Mishima, Yukio. “Introduction.” House of the Sleeping Beauties and Other Stories. Trans. Edward G. Seidensticker. Tokyo: Kodansha International Ltd., 1969. 7 – 10.

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Moy, James S. “David Henry Hwang’s M. Butterfly and Philip Kan Gontanda’s Yankee Dawg You Die: Repositioning Chinese American Marginality on the American Stage.” Theatre Journal 42.1 (1990): 48 – 56.new window

---. Marginal Sights: Staging the Chinese in America. Iowa City: U of Iowa P, 1993.

Mura, David. “A Shift of Power, A Sea Change in the Arts: Asian American Construction.” The State of Asian America: Activism and Resistance in the 1990s. Ed. Karin Aguliar-San Juan. Boston: South End Press, 1994. 183 – 204.

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Rich, Frank. “’Dance, Railroad.’ By David Henry Hwang.” The New York Times 31 March 1981: C7.

---. “‘Rich Relations’ from David Hwang.” The New York Times 22 April, 1986: C15.

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---. Cultural and Imperialism. New York: Vintage, 1994.

Sewell, Robert George. The Theme of Suicide: A Study of Human Values in Japanese and Western Literature. Diss. U of Illinois at Urbana-Champaign, 1976.

Shimakawa, Karen. “Who’s to Say? Or, Making Space for Gender and Ethnicity in M. Butterfly.” Theatre Journal 45.3 (1993): 349 – 62.

---. National Abjection: The Asian American Body Onstage. Durham and London: Duke UP, 2000.

Smith, Dinitia. “Face Values: The Sexual and Racial Obsessions of Playwright David Henry Hwang.” New York 26.2 (1993): 40 – 45.

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Sue, Stanley and Derald Wing Sue. “Chinese-American Personality and Mental Health.” Asian Americans: Psychological Perspective. Ed. Stanley Sue and Nathaniel N. Wagner. Ben Lomond, California: Science and Behavior Books, 1973. 111 – 24.

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B. Sources in Chinese
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