摘要
隨著全球化和跨國資本主義時代的來臨，換語創作屢見不鮮。享譽國際文壇的康拉德、納博科夫與昆德拉等，皆屬此類在成年後才改用非母語書寫的作家，成就有目共睹，儼然形成一獨特的傳統。在華人方面，百餘年來嘗試以非母語書寫的作家亦不在少數，但在文學史上他們卻始終妾身未明，被有意無意的忽略或誤解。有鑑於此，本論文選擇以華人的非母語書寫為主題進行研究，主要範圍為二十世紀採用英、法語從事小說等敘事文類創作的華人。首章緒論以語言學理論給予「非母語書寫」適當定義，並以此為依據概述百餘年來的華人非母語書寫史。論文二至五章分別以形象學、修辭學、翻譯理論和離散批評四種研究方法切入。形象研究重點在於「自塑形象」研究，考察不同時期的華人非母語書寫呈現之中國形象，探索其生成原因以及在非母語文本中的功能與意義。修辭研究主要在於讀者問題研究，並以哈金的《等待》為範例，說明作家如何運用修辭說服讀者以達成認同與交流關係。翻譯研究著眼於華人非母語書寫中特有的自譯行為與譯者消失現象，通過對譯者主體性之探討，還原翻譯之創造性及譯者應有之地位。離散研究討論華人非母語書寫者的批判意識，以出身台灣的非母語作家羅其華之《德州美國夢》為例，說明非母語書寫者在離散情境下如何以多重視角觀看母國與移居地文化、政治和社會生態，並描述批判意識的生產過程，以及此批判精神在文本中的重要性。面對跨文化與跨語境的華人非母語書寫，傳統以國別文學為本位的單向閱讀方式，似乎不容易全面觀照此類文學創作活動。本論文以形象、修辭、翻譯與離散四個角度切入，乃是基於互通、交流與多元觀點考察此類作品，嘗試藉由更加開放與明辨的閱讀方式，鑑別華人非母語書寫特有的文學與藝術價值之所在。

Abstract
With the coming of globalization and multi-national capitalism, it has become not uncommon to see writers switch to non-mother tongue languages when they create literary works. Writers like Joseph Conrad, Vladimir Nabokov, and Milan Kundera wrote in non-mother tongue languages after adulthood and became world-famous, and it is even arguable to say that they and many other writers have formed a unique tradition. For more than a hundred years in the past, many Chinese writers have tried to engage in non-mother tongue writing, but their status in history of literature remains largely ambiguous, and they are even ignored or misunderstood, both intentionally and unintentionally. To do justice to them, this dissertation works on non-mother tongue writings created by Chinese writers, and chooses to limit itself on Chinese writers who wrote narrative genre works like novels in English or French. Written on the basis of linguistic theories, the first chapter tries to define “non-mother tongue writing” properly, before it can thus summarize the history of Chinese writers’ non-mother tongue writing in more than a hundred years. In order to assess the concept of “non-mother tongue writing”, imagology, rhetoric, translation theories, and diaspora criticism discourse have been used respectively from Chapter II to V. Imagology focuses itself on the study of “self-image creating,” so Chapter II will glance at how China has been represented in non-mother tongue writings, and the reasons for this kind of representation and its functions and significance in literary texts will also be given. Rhetoric works largely on the problems about readership, so, in Chapter III, Ha Jin’s Waiting has been used an example to explore how these non-mother tongue writers used their rhetorical strategies to convince their readers and to achieve mutual recognition and a two-way communication. Chapter IV, the chapter on translation theories, is about the activity of “self-translation” and the disappearance of translators, phenomena unique in non-mother tongue writings, and it also tries to discuss the issue of translators’ subjectivity, in order to restore the originality of translation and to give translators a place they deserve. In order to reveal the critical consciousness in non-mother tongue writings through the perspectives of diaspora studies, by using Taiwanese American novelist Steven C. Lo’s The Incorporation of Eric Chung as an example, Chapter V attempts to explain, in a diasporic situation, how non-mother tongue writers can review from multiple perspectives the cultural, political and social formation of both their motherland and places they immigrated into, and it also describes the emergence of critical consciousness and emphasizes the importance of this kind of consciousness in literary texts. Traditional academic endeavors prioritize national literatures, and it seems that their one-way reading can hardly understand comprehensively this kind of literary creation which has been cross-cultural and multilingual in nature. By using the four above-mentioned theoretical perspectives, this dissertation aims at reading non-mother tongue writings from a diversified point of view emphasizing mutual intelligibility and communication, and it also tries to read this type of written works with more openness and clarity, in order to make distinct their unique literary and artistic values.