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文化身份对抗与黏合的路径研究--以华裔戏剧《蝴蝶君》为例

摘要第6-7页
Abstract第7页
1 Introduction第9-20页
    1.1 An Overview of Chinese American Drama第9-11页
    1.2 David Henry Hwang and M. Butterfly第11-13页
    1.3 Constructing the Theory of Cultural Identity第13-17页
    1.4 Literature Review第17-20页
        1.4.1 Research Abroad第17页
        1.4.2 Research at Home第17-20页
2 Confrontation and Conflict of Cultural Identity第20-33页
    2.1 Western Cultural Hegemony and Orientalization of China第20-22页
    2.2 Stereotypes of Chinese in the Eyes of Americans第22-25页
    2.3 Oriental Female Obedience and Occidental Male Hegemony: Song Liling and Gallimard第25-33页
        2.3.1 Modesty and Sinisterness: the Image of Song Liling第25-29页
        2.3.2 Narcissism and Diffidence: the Image of Gallimard第29-33页
3 Pursuit and Discovery of Cultural Identity第33-45页
    3.1 Removal of Orientalism’s Denunciation第33-38页
        3.1.1 Deconstruction of East-West Relations第33-35页
        3.1.2 Subversion of the Oriental Female Stereotype第35-36页
        3.1.3 Deconstruction of the Stereotyped White Men第36-38页
    3.2 Deconstruction of the Protagonists’ Gender and Racial Identity第38-41页
        3.2.1 Elimination of the Protagonists’ Entrenched Gender Characteristics第38-40页
        3.2.2 Simplification of Protagonists’ Racial Identity第40-41页
    3.3 Reconstruction of Chinese Cultural Identity第41-45页
        3.3.1 Costume Representation and Cultural Identity第42-43页
        3.3.2 Reconstruction of Oriental Male Image第43-45页
4 Adhesion and Transcendence of Cultural Identity第45-52页
    4.1 Breakthrough on Cultural Identity第45-47页
    4.2 Breaking Gender Boundary第47-49页
    4.3 Transforming Cultural Identity第49-52页
5 Conclusion第52-54页
Acknowledgements第54-55页
References第55-58页
Papers Published in the Period of Ph.M. Education第58页

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