Chinese-American literature that grew up at the end of 1960s and the beginning of 1970s not only increased in quantity but also broke through in theme and genre. From 1970s, Chinese-American literature has developed b...Chinese-American literature that grew up at the end of 1960s and the beginning of 1970s not only increased in quantity but also broke through in theme and genre. From 1970s, Chinese-American literature has developed by leaps and bounds and a group of outstanding and innovative writers also appeared who earned the respect of literary critics and enjoyed a large number of American readers--for example, Maxine Hong Kingston （1940-） and Amy Tan （1952-） as novelists and David Henry Hwang （1957-） as a playwright. The woman warrior in particular is regarded as the work that marks the rise of Chinese-American literature in modem American literary history. This paper intends to argue the investigation of individual identity of Maxine Hong Kingston as a Chinese-American woman and the deliberate misinterpretation of Chinese traditions in The woman warrior. In addition, to create the collective identity of Chinese-Americans, the author actually takes the way of traditional Chinese movies that she has inherited and uses the highlights which are most appreciated by the Westerners to cater to their interests and fantasies.展开更多
文摘Chinese-American literature that grew up at the end of 1960s and the beginning of 1970s not only increased in quantity but also broke through in theme and genre. From 1970s, Chinese-American literature has developed by leaps and bounds and a group of outstanding and innovative writers also appeared who earned the respect of literary critics and enjoyed a large number of American readers--for example, Maxine Hong Kingston （1940-） and Amy Tan （1952-） as novelists and David Henry Hwang （1957-） as a playwright. The woman warrior in particular is regarded as the work that marks the rise of Chinese-American literature in modem American literary history. This paper intends to argue the investigation of individual identity of Maxine Hong Kingston as a Chinese-American woman and the deliberate misinterpretation of Chinese traditions in The woman warrior. In addition, to create the collective identity of Chinese-Americans, the author actually takes the way of traditional Chinese movies that she has inherited and uses the highlights which are most appreciated by the Westerners to cater to their interests and fantasies.
