美籍華裔女作家嚴歌苓在其長篇小說《扶桑》中，主要透過扶桑這一被拐賣到美國淪為妓女的華人女性，將性別、民族、身分認同等問題並置，塑造了一個地母般的女性形象，提供了一種弱者求生的方式。然而她像動物一樣被折磨，在被動的承受中完成救贖，這在扶桑從妓女轉變為男人眼中的女神的過程中，是否存在合理性呢？東方文化中的寬恕和隱忍是否達到了可以抗拒一切強權的高度呢？本文以《扶桑》為主要研究文本，一方面剖析作品中女性書寫的地母形象和東方誘惑，肯定弱者之強烈的生存意志，另一方面指出作品中對神性的過度解讀以及主體性缺失的問題。除了辯證認識這部作品的矛盾性外，本文亦盼能一窺全球化背景下女性寫作與移民者身分認同的複雜性。

As a famous Chinese writer who lives in America, Yan Geling places issues such as gender, cultural gap, identity, etc. together in her novel called Fusang, in which a Chinese woman Fusang is kidnapped to America and ends up as a prostitute. In the novel, Fusang is a woman full of the spirit of earth-mother and shows how a weak person struggle to survive under adverse circumstances. However, when it comes to turning a prostitute into a goddess, do tortured as an animal and standing everything that hurts her make sense? Therefore, the article sets Yan Geling’s work Fusang as the research object, analyzing the earth-mother characteristic and oriental attraction in the novel, speaking highly of the expression of female experience by Fusang’s controlling fate, more significantly, pointing out the problem that Yan Geling over much illuminates Fusang’s deity and neglects the importance of subject. Besides evaluating Fusang dialectically, this article also try to show the complication of identity of migrants and female writing under the background of globalization.